Children’s Literature
in the Elementary School
• CHARLOTTE S. HUCK
• DORIS A. YOUNG
Children’s Literature
in the Elementary Sclioo
HOLT, RINEHART AND WINSTON • NEW YORK
Copyright © 1961
by Holt, Rinehart and Winston, Inc.
All Rights Reserved
Library of Congress Catalog Card Number: 61-11683
23787-0111
ACKNOWLEDGMENTS
Grateful acknowledgment is made to the following
authors, illustrators, publishers, and agencies for per-
mission to reprint illustrations and selections from
copyrighted material.
OSBORNE WARD VASSALL ABBOT and THE
ESTATE OF LADY STRACHIE, Illustration and
selections from The Complete Nonsense Book by
Edward Lear.
APPLETON-CENTURY-CROFTS, INC.— An illus-
tration from Mother Goose by Arthur Rackham.
Copyright, 1913, Arthur Rackham, 1941 by Ed)th
Rackham. Reproduced by permission of Appleton-
Century-Crofts, Inc. and William Heinemann Ltd.
ARTISTS AND WRITERS GUILD, INC — Art work
by Cornelius DeWitt for The Story of California ,
The Story of the Southern Highlands , The Story of
the Pennsylvania Dutch , The Story of the Great
Lakes; by Feodor Rojankovsky for The Tall Book
of Mother Goose (copyright 1942 by Artists and
Writers Guild, Inc.) Reprinted by permission.
EDGAR AND INGRI PARIN D’AULAI RE— World
rights for an illustration from Ola (Doubleday &
Company, Inc.) used by their permission.
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illustration by Roger Duvoisin from The Happy
Lion by Louise Fatio.
ALBERT BONNIERS FORLAG— Illustration from
Chendru , The Boy and the Tiger by Astrid Sucks-
dorf.
BRANDT & BRANDT — Two verses from “Abraham
Lincoln” and four lines from “Thomas Jefferson”
by Stephen Vincent Ben£t from A Book of Amer-
icans (Holt, Rinehart & Winston, Inc.). Copyright,
1933, by Rosemary and Stephen Vincent Bendt, re-
printed by permission of Brandt Sc Brandt. British
Empire rights for “Self-Portrait” from The Col-
lected Poems of Freddy, the Pig by Walter R.
Brooks (Alfred A. Knopf, Inc.).
CURTIS BROWN, LTD. — Reprinted by permission
of the authors: second verse of “A New Song to
Sing About Jonathan Bing” in Jonathan Bing and
Other Verses by Beatrice Curtis Brown, copyright
1936 by Beatrice Curtis Brown; British Empire
rights for quotations from “E Is an Escalator”
from All Around the Town by Phyllis McGinley
(J. B. Lippincott Co.), copyright 1948 by Phyllis
McGinley, from Miracles on Maple Hill by Vir-
ginia Sorensen (Harcourt, Brace & World, Inc.),
copyright © 1956 by Virginia Sorensen, and from
Wind in the Willoxvs by Kenneth Grahame, illus-
trated by E. H. Shepard, illustration reprinted
including world rights by permission of the artist,
copyright 1933, 1953 Charles Scribners’ Sons and
copyright under the Berne Convention; world
rights for an illustration and limerick from Type-
writer Town by William Jay Smith (E. P. Dutton
Sc Co.), copyright © 1960 by William Jay Smith.
CHILDREN’S PRESS, INC.— Illustration from The
True Book of Your Body and You by Alice
Hinshaw, illustrated by Frances Eckert.
WILLIAM COLLINS SONS & CO. LTD^British
Empire rights: for the quotation from Sparkle and
Spin by Ann and Paul Rand, copyright © 1957 by
Ann and Paul Rand, for an illustration and quo-
tation from Love Is a Special Way of Feeling by
Joan Walsh Anglund, copyright © 1960 by Joan
Walsh Anglund, for the illustration from Paddle-
to-the Sea by Holling C. Holling, for the illustra-
tion from Mary Poppins by P. L. Travers, illus-
trated by Mary Shepard, copyright 1934 by Reynal
8c Hitchcock.
CONSTABLE AND COMPANY LTD.— British Em-
pire rights for a quotation from Mary Jane by
Dorothy Sterling, copyright © 1959 by Dorothy
Sterling.
COWARD-McCANN, INC.— Quotation from Three
Owls, Third Book edited by Anne Carroll Moore,
copyright 1931 by Coward -McCann, Inc. Illustra-
tions from Millions of Cats by Wanda Grig, copy-
right 1928 by Coward-McCann, Inc., and from
Tales from Grimm written and illustrated by
Wanda Gdg, copyright © 1936 by Wanda Gdg.
Used by permission.
THOMAS Y. CROWELL COMPANY— Quotations
from: Going Barefoot by Aileen Fisher, copyright
1960 by the Author, reprinted by the permission
of Thomas Y. Crowell Company; The First Year
by Enid LaMonte Meadowcroft, copyright 1937,
1946 by Thomas Y. Crowell Company. An illus-
IV
t rat ion by Symeon Sftiimin from Onion John by
Joseph Krumgold, copyright 1959 by Thomas Y.
Crowell Company; and an illustration by Clare
Leighton from Untune the Sky by Helen Plotz,
copyright 1957 by Thomas Y. Crowell Company.
J. M. DENT AND SONS, LTD.— British Empire
rights for “The Panther” from Many Long Years
Ago by Ogden Nash. World rights for quotation
from The Borrowers by Mary Norton, published
1952 by J. M. Dent and Sons, Ltd.
DODD MEAD & COMPANY — Illustration and lim-
ericks from The Complete Nonsense Book by
Edward Lear also by permission of the Adminis-
trators of Constance Esther Rosa Cipelletti, Lady
Strachie, deceased.
DOUBLEDAY & COMPANY, INC— Quotations
from: Oddity Land by Edward Anthony, copyright
© 1957 by Edward Anthony; an article by Mar-
jorie Flack appearing in Writing Books for Boys
and Girls, edited by Helen Ferris, copyright, 1937,
Doubleday & Company, Inc.; Mary Jane by
Dorothy Sterling, copyright © 1959, by Dorothy
Sterling. Illustrations from: Abraham Lincoln by
Ingri and Edgar Parin d’Aulaire, copyright 1939
by Doubleday & Company, Inc., published in the
British Empire by C. Combridge Ltd., Birming-
ham, England and included with their permission
also; Ola by Ingri and Edgar Parin d’Aulaire,
copyright 1932 by Doubleday & Company, Inc.;
Book of Nursery and Mother Goose Rhymes by
Marguerite de Angeli, copyright 1953, 1954 by
Marguerite de Angeli; The Door in the Wall by
Marguerite de Angeli, copyright 1949 by Mar-
guerite de Angeli, reproduced by permission of
Doubleday & Company, Inc. and by The Worlds
Work (1913) Ltd., The Windmill Press, Kingswood,
Surrey, England; Mei Li by Thomas Handforth,
copyright 1938 by Thomas Handforth,. reproduced
by permission of Doubleday & Company, Inc.;
Let's Go to the Seashore by Harriet Huntington,
copyright 1941 by Doubleday & Company, Inc.;
The Christ Child by Maud and Miska Petersham,
copyright 1931 by Maud and Miska Petersham; all
reproduced by permission of Doubleday & Com-
pany, Inc.
E. P. DUTTON & CO., INC.— “Birthdays” copyright
1932, renewal, 1960, by Marchette Chute, from
the book Around and About by Marchette Chute.
Published 1957 by E. P. Dutton & Co., Inc. Quo-
tations from The Young Traveler in Sweden by
George L. Proctor, copyright 1953 by E. P. Dutton
& Co., Inc. Illustration and limerick from the book
Typewriter Town by William Jay Smith, copy-
right © 1960 by William Jay Smith. All reprinted
by permission of E. P. Dutton & Co., Inc.
GUILIO EINAUDI EDITORE— An illustration
from Hans Christian Andersen, Fiabe, Torino
1954.
FABER AND FABER LTD.— World rights for illus-
tration and quotation from The Little House by
Virginia Lee Burton, copyright 1942 by Virginia
Lee Demetrios. British Empire rights for an illus-
tration on the title page of Tales from Grimm by
Wanda GAg.
AILEEN FISHER — Quotations from “Skins” and
Acknowledgments - v
“Zero Weather” from That's Why published by
Thomas Nelson & Sons, 1946.
FOLLETT PUBLISHING COMPANY— Quotation
from Lincoln, Friend of the People by Clara
Ingram Judson, illustrated by Robert Frankenberg,
copyright 1950 by Clara Ingram Judson, reprinted
by permission of Follett Publishing Company.
FRATELLI FABBRI EDITORI — An illustration
by Maraja, from Alice in Wonderland by Lewis
Carroll.
GOLDEN PRESS, INC. — Illustrations reproduced
from: The Golden Treasury of Poetry compiled
by Louis Untermeyer, illustrated by Joan Walsh
Anglund, copyright 1959 by Golden Press, Inc.;
The Iliad and the Odyssey adapted by Jane
Werner Watson, illustrated by Alice and Martin
Provensen, copyright 1956 by Golden Press, Inc.
HARCOURT, BRACE & WORLD, INC.— “Whis-
pers,” “My Other Name,” and an illustration by
Jacqueline Chwast from Whispers and Other
Poems, copyright © 1958 by Myra Cohn Livings-
ton, reprinted by permission of Harcourt, Brace &
World, Inc. Quotations from: Sparkle and Spin
copyright © 1957 by Ann and Paul Rand; The
Little Prince by Antoine de Saint-Exup£ry, copy-
right 1943 by Reynal and Hitchcock, Inc., re-
printed by permission of Harcourt, Brace 8c World,
Inc.; Abe Lincoln Grows Up by Carl Sandburg,
copyright 1926, 1928 by Harcourt, Brace & World,
Inc., renewed 1954, 1956 by Carl Sandburg, re-
printed by permission of the publishers; Miracles
on Maple Hill by Virginia Sorensen, copyright
© 1956 by Virginia Sorensen; The Far Frontier
by William O. Steele, copyright © 1959 by
William O. Steele. Illustrations and quotation
from The Borrowers by Mary Norton, copyright
1952, 1953, by Mary Norton, illustrated by Beth
and Joe Krush (p. 19); from Love Is a Special Way
of Feeling by Joan Walsh Anglund, copyright ©
1960 by Joan Walsh Anglund. Illustrations from:
Two is a Team by Lorraine and Jerrold Beim,
illustrated by Ernest Crichlow, copyright 1945 by
Harcourt, Brace & World, Inc.; The House That
Jack Built by Antonio Frasconi, copyright © 1958
by Antonio Frasconi; Mary Poppins by P. L.
Travers, illustration by Mary Shepard [p. 18],
copyright 1934 by Reynal & Hitchcock. All repro-
duced by permission of Harcourt, Brace 8c World,
Inc.
HARPER & BROTHERS — Six lines from “The
Things I Do” from In The Middle of the Trees
by Karla Kuskin, copyright © 1958 by Karla
Kuskin, reprinted by permission of Harper &
Brothers. Quotations from The Long Winter,
copyright 1940 by Laura Ingalls Wilder, reprinted
by permission of Harper & Brothers; quotation
from The Little House in the Big Woods copy-
right 1932 by Laura Ingalls Wilder, cover illus-
tration copyright 1953 by Garth Williams, both
reproduced by permission of Harper & Brothers.
Illustrations, copyright 1952 by Maurice Sendak,
from A Hole Is to Dig by Ruth Krauss, repro-
duced by permission of Harper & Brothers; quo-
tations from A Very Special House, copyright 1953
by Ruth Krauss, and illustrations copyright 1953
vi - Acknowledgments
by Maurice Sendak, illustrations and quotations
reproduced by permission of Harper & Brothers;
illustration from April's Kittens by Clare Turlay
Newberry, copyright 1940 by Harper & Brothers;
quotation from The Moon Jumpers , copyright ©
1959, by Janice May Udry, and illustration copy-
right © 1959 by Maurice Sendak, reproduced by
permission of Harper & Brothers; illustration by
Garth Williams, from Charlotte's Web copyright
1952 by E. B. White, reproduced by permission
of Harper & Brothers; from Stuart Little copyright
1945 by E. B. White, illustration (p. 19) by Garth
Williams, reproduced by permission of Harper &
Brothers; from Big Brother , copyright 1960, by
Charlotte Zolotow, an illustration copyright 1960
by Mary Chalmers, reproduced by permission of
Harper & Brothers; The Storm Book , copyright
1952 by Charlotte Zolotow, an illustration copy-
right 1952 by Margaret Bloy Graham. All repro-
duced by permission of Harper & Brothers.
WILLIAM HEINEMANN, LTD.— Illustration from
Mother Goose by Arthur Rackham. British Empire
rights for a quotation from The Little Prince by
Antoine de Saint-Exupery, originally published by
Librairie Gallimard, translated by Katherine
Woods and published in England by William
Heinemann, Ltd. Reprinted through the courtesy
of both publishers.
THE HORN BOOK, INC.— Quotation from “Dis-
tinction in Picture Books” by Marcia Brown in
Illustrators of Children's Books 1946-1956 , by
Viguers, Dalphin, and Miller, copyright 1958 by
The Horn Book, Inc., used by permission of the
publishers. Illustration from Illustrators of Chil-
dren's Books, 1744-1945, compiled by Bertha E.
Mahony et al., copyright 1947 by The Horn Book,
Inc.
HOUGHTON MIFFLIN COMPANY— Illustration
and quotation from: The Little House by Virginia
Lee Burton, copyright 1942 by Virginia Lee
Demctrios; America's Abraham Lincoln by May
McNeer, illustrated by Lynd Ward, copyright 1957
by May McNeer Ward and Lynd Ward. Illustrations
from: The Country Bunny and the Little Gold
Shoes by Du Bose Heyward, illustrated by Marjorie
Flack, copyright 1939 by Houghton Mifflin Com-
pany; Paddle-to-the Sea by Holling C. Holling,
copyright 1941 by Houghton Mifflin Company;
Rogue Reynard, Based Upon the Beast Saga by
Andr£ Norton, illustrated by Laura Bannon, copy-
right 1947 by Houghton Mifflin Company; The
Biggest Bear by Lynd Ward, copyright 1952 by
Lynd Ward. All reproduced by permission of
Houghton Mifflin Company.
BELLE HUBBARD — “New Shoes” and “Snow'” by
Alice Hubbard Wilkins from The Golden Flute
compiled by Alice Hubbard and Adeline Babbit,
published 1932 by John Day Company, reprinted
by permission of Belle Hubbard, executrix of the
estate of Alice L. Hubbard.
ELIZABETH ORTON JONES — Four covers draw T n
for “The Magazine of Books,” The Chicago Sun-
day Tribune. Reproduced by permission of Miss
Jones.
ALFRED A. KNOPF. INC.— “Self Portrait” re-
printed from The Collected Poems of Freddy the
Pig by Walter R. Brooks, copyright 1927, 1930,
1932, 1936, 1937, 1939-1953 by Walter R. Brooks,
by permission of Alfred A. Knopf, Inc.; “Dreams”
from The Dream Keeper and Other Poems by
Langston Hughes, copyright 1932 by Alfred A.
Knopf, Inc., and se\en lines from What Is One?
by Nancy Dingman Watson, copyright 1954 by
Alfred A. Knopf, Inc., reprinted by permission
of Alfred A. Knopf, Inc.
J. B. LIPPINCOTT COMPANY— “Water” from
Poems by a Little Girl by Hilda Conkling, copy-
right 1920-1947 by Hilda Conkling; “Mrs. Peck
Pigeon,” copyright 1933, and “The Night Will
Never Stay,” copyright 1951, by Eleanor Farjeon,
from Poems for Children by Eleanor Farjeon,
published by J. B. Lippincott Company; “E is an
Escalator” from All Around the Town by Phyllis
McGinley, copyright 1948 by Phyllis McGmley;
“Smells (Junior)” from The Rocking Horse by
Christopher Morley, copyright 1918-1946 by Chris-
topher Morley, reprinted by permission of J. I*.
Lippincott Company and Paul Gitlin of Ernst,
Cave, Berner and Gitlin for the Estate of Christo-
pher Morley; “I Keep Three Wishes Ready” from
All Through the Year by Annette Wynne, copy-
right 1932-1959 by \nnette Wynne; “Eleven” from
12345 by Arthur Gregor, illustrated by Robert
Doisneau, published 1956 by J. B. Lippincott
Company, reprinted by permission of Charles
Rado of Rapho Guillumette Pictures. Illustration
and quotation from Little Sioux Girl by Lois
Lenski. copyright 1958 by Lois Lenski, reprinted
by permission of Lois Lenski. Illustration from
Skyscraper by Yen Liang, copyright © 1958 by
Yen Liang, published by J. B. Lippincott Com-
pany. All included by permission of the J. B.
Lippincott Company.
LITTLE, BROWN & COMPANY— “A Year Later”
from Hello and Good-By by Mar) Ann Hoberman,
copyright © 1959 by Mary Ann and Norman
Hoberman; “This Is My Rock” from Far and
Few by David McCord, copyright 1925, 1929, 1931,
1941, 1949, 1952 by David McCord; “The Panther”
from Many Long Years Ago by Ogden Nash, copy-
right 1940 by The Curtis Publishing Company,
reprinted by permission of Little, Brow'n & Com-
pany. Quotations from: McWhinney's Jaunt, copy-
right 1951 by Robert Lawson; Ounce Dice Trice
by Alastair Reid, illustrated by Ben Shahn, copy-
right 1958 by Alastair Reid. Illustration from
Favorite Fairy Tales Told in France by Virginia
Haviland, illustrated by Roger Duvoisin, copy-
right 1959 by Little, Brow'n & Company. Illustra-
tion and rhymes from Pebbles and Pup Tents by
William Jay Smith, illustrated by Juliet Kepes,
copyright 1959 by William Jay Smith. All re-
printed by permission of Little, Brown & Com-
pany.
LOTHROP, LEE AND SHEPARD COMPANY,
INC. — Quotations from: A Kiss Is Round by
Blossom Budney, illustrated by Vladimir Bobri,
copyright 1954 by Lothrop, Lee and Shepard Com-
pany, Inc.; A Sleepy ABC by Margaret Wise
Brown, copyright 1953 by Lothrop, Lee and
Shepard Company, Inc. Cover illustration from
White Snow Bright Snow by Alvin Tresselt, illus-
trated by Roger Duvoisin, copyright 1947 by
Lothrop, Lee and Shepard Company, Inc. All re-
produced by permission of the publishers.
THE MACMILLAN COMPANY— Four lines of
"Something Told the Wild Geese” and two lines
of “My Inside Self” from Poems by Rachel Field,
copyright 1951 by The Macmillan Company; two
lines of “The Coin” by Sara Teasdale from Stars
Tonight , copyright 1954 The Macmillan Company;
quotations from Caddie Woodlawn by Carol Ryrie
Brink, copyright 1935 by The Macmillan Com-
pany; verse and illustration from The Rooster
Crows by Maud and Miska Petersham, copyright
1945 by The Macmillan Company. Illustrations
from: The Space Ship Returns to the Apple Tree
by Louis Slobodkin, copyright © 1958 by Louis
Slobodkin; Call It Courage by Armstrong Sperry,
copyright 1940 by The Macmillan Company; This
Is London by Miroslav Sasek, copyright © 1959
by Miroslav Sasek. All used with the permission
of The Macmillan Company.
MACMILLAN & CO., LTD. — British Empire rights
to the quotation from The Far Frontier by
William O. Steele, copyright © 1959 by William
O. Steele.
MCA ARTISTS, LTD., AGENCY— World rights to
an illustration from Horton Hatches the Egg by
Dr. Seuss, cop\ right 1940 Theodor Geisel.
THE PIERPONT MORGAN LIBRARY— Frontis-
piece of the original manuscript of Perrault's
Tales of Mother Goose.
WILLIAM MORROW AND COMPANY, INC.—
Illustrations from: Kangaroos and Other Animals
with Pockets by Louis Darling, copyright © 1958
by Louis Darling; Ameiica Is Born by Gerald W.
Johnson, illustrated by Leonard Everett Fisher,
copyright © 1959 by Gerald W. Johnson; What's
Inside of Animals? by Herbert S. Zim, illustrated
by Herschel Wartek, copyright 1953 by Herbert S.
Zim. All used by permission of William Morrow
and Com pan v, Inc.
NATIONAL EDUCATION ASSOCIATION— Photo-
graph by Carl Purcell from Foundations of Learn-
ing in the Kindergarten.
HAROLD OBER ASSOCIATES INC.— World rights:
for an illustration from The Cowiti-y Bunny and
the Little Gold Shoes by Du Bose Heyward, illus-
trated by Marjorie Flack, copyright © 1939 by Du
Bose Heyward and Marjorie Flack Larsson, repro-
duced by permission of Harold Ober Associates
Inc.; for “Mrs. Peck-Pigeon,” copyright 1933 ©
1951 by Eleanor Farjeon, and “The Night Will
Ne\er Stay,” copyright © 1951 by Eleanor Farjeon,
from Eleanor Farjeon's Poems for Children pub-
lished 1951 by the J. B. Lippincott Company.
Reprinted by permission of Harold Ober Asso-
ciates Incorporated.
THE OHIO STATE UNIVERSITY— Quotations
from Exploring Independent Reading in the
Primary Grades by Schatz, et a!., 1960, Center for
School Experimentation, The College of Educa-
tion, The Ohio State University and a photograph
of children from The University School.
Acknowledgments - vii
THE ORION PRESS — Illustration from Fairy Tales
by Hans Christian Andersen, Orion Press, New
York, 1958.
PARNASSUS PRESS — Quotation from Hullabaloo
ABC by Beverly Cleary.
PHOENIX HOUSE LIMITED— World rights for a
quotation from The Young Traveler in Sweden
by George L. Proctor. (E. P. Dutton & Co.)
PRENTICE-HALL, INC. — Illustration from Space
Satellite, The Story of the Man-Made Moon by Lee
Beeland and Rol)ert Wells, illustrated by Jack
Coggins, © 1957, 1958, and 1960 by Prentice-Hall,
Inc., Englewood Cliffs, N.J.
G. P. PUTNAM S SONS— “Everybody Says” and “On
a Snowy Day” from All Together by Dorothy
Aldis, copyright 1925, 1927, 1928, 1934, 1939, 1952
by Dorothy Aldis; “Bad” and “The Sad Shoes”
from Here, There and Everywhere by Dorothy
Aldis, published by Minton, Balch & Co.; illustra-
tion from Little Toot by Hardie Gramatky, copy-
right 1939 by Hardie Gramatky. All used by per-
mission of G. P. Putnam’s Sons.
RAND McNALLY & COMPANY— An illustration
by Wesley Dennis from King of the Wind by Mar-
guerite Henry. Copyright 1948 under International
Copyright Union. All rights reserved under Inter-
national American Copyright Union 1910 by Rand
McNally.
RANDOM HOUSE, INC. — Illustration from Horton
Hatches the Egg by Dr. Seuss, copyright 1940 by
Theodor Geisel, reproduced by permission of
Random House, Inc.
PAUL R. REYNOLDS & SONS — British Empire
rights for 3 lines from Oddity Land by Edward
Anthony, copyright © 1957 by Edward Anthony.
WILLIAM R. SCOTT, INC.— Illustration from: The
Dead Bird by Margaret Wise Broun, illustrated
by Remy Charlip, copyright © 1958 by Roberta
R. Rauch, reproduced by permission of William
R. Scott, Inc.; Young Kangaroo by Margaret Wise
Brown, illustrated by Symeon Shimin, copyright
1955 by William R. Scott, Inc.
CHARLES SCRIBNERS SONS— Lines from the
\erse “O” from Peter Piper's Alphabet by Marcia
Brown, copyright © 1959 by Marcia Brown, re-
printed by permission of Charles Scribner’s Sons.
Quotations from: The Courage of Sarah Noble by
Alice Dalgliesh, copyright 1954 Alice Dalgliesh and
Leonard Weisgard; Turkey Old and New by Selma
Ekrem, copyright 1947 by Selma Ekrem; Birthdays
of Freedom by Genevieve Foster, copyright 1952 by
Genevieve Foster, all reprinted by permission of
Charles Scribner’s Sons. Quotations and illustra-
tions from Wind in the Willows by Kenneth
Grahame, illustrated by E. H. Shepard, copyright
1908, 1935 Charles Scribner’s Sons; copyright under
the Berne Convention. Illustrations from: Cinder-
ella by Marcia Brown, copyright 1954 by Marcia
Brown; The Columbus Story by Alice Dalgliesh,
illustrated by Leo Politi, copyright 1945 Alice
Dalgliesh and Leo Politi; The Thanksgiving Story
by Alice Dalgliesh, illustrated by Helen Sewell,
copyright 1954 Alice Dalgliesh and Helen Sewell;
Augustus Caesar's World by Genevieve Foster,
copyright 1947 Genevieve Foster; and an illustra-
viii - Acknowledgments
tion reproduced by the permission of Charles
Scribner's Sons from Mr. Peaceable Paints by
Leonard Weisgard, © copyright 1956 Leonard
Weisgard. All reproduced by permission of Charles
Scribner’s Sons.
SILVER BURDETT COMPANY— Quotation from
Fun Around the World by Patsy Scarry, copyright
1957, used with permission.
THE SOCIETY OF AUTHORS— Quotations from
“The Old Stone House,” “Tired Tim,” and
“Silver” by Walter de la Mare by permission of
The Literary Trustees of Walter de la Mare and
The Society of Authors as their representative.
P. K. THOMAJAN — Illustration from Pleasant Sur-
prises A Novel Mechanical Book for the Little
Ones . Courtesy P. K. Thomajan Collection of
Animated Juvenilia, used by the permission of
P. K. Thomajan.
TORONTO PUBLIC LIBRARY— Illustrations from
The Osborne Collection of Early Children’s Books ,
1566-1910, published 1958 by the Toronto Public
Library and used by permission.
THE UNIVERSITY OF CHICAGO PRESS— Quota-
tion p. 234 from Childhood in Contemporary
Cultures by Margaret Mead and Martha Wolfen-
stein, reprinted by permission of The University
of Chicago Press. Copyright 1955 by the University
of Chicago.
THE VIKING PRESS, INC.— Quotations from Abra-
ham Lincoln by James Daugherty, copyright 1943
by James Daugherty; Adam of the Road by Eliza-
beth Janet Gray, illustrated by Robert Lawson,
copyright 1942 by Elizabeth Janet Gray; Jingle
Jangle by Zhenya Gay, copyright 1953 by Zhenya
Gay. Quotation and illustration from Daniel
Boone by James Daugherty, copyright © 1939 by
James Daugherty. Illustrations from: Aesop’s Fa-
bles, edited and illustrated by Boris Artzybasheff,
copyright © 1933 by Boris Artzybasheff; The Big
Tree by Mary and Conrad Buff, copyright © 1946
by Mary Marsh Buff and Conrad Buff; Play With
Me by Marie Hall Ets, copyright © 1955 by Marie
Hall Ets; A Little Child by Elizabeth Orton Jones,
copyright 1946 by Elizabeth Orton Jones; Rabbit
Hill by Robert Lawson, copyright © 1944 by
Robert Lawson (p. 18); Pippi Longstocking by
Astrid Lindgren, illustrated by Louis S. Glanzman,
copyright © 1950 The Viking Press, Inc.; Make
Way For Ducklings by Robert McCloskey, copy-
right © 1941 by Robert McCloskey; Time of Won-
der by Robert McCloskey, copyright © 1957 by
Robert McCloskey; Wonders of the Human Body
by Anthony Ravielli, copyright © 1954 Anthony
Ravielli; Roller Skates by Ruth Sawyer, illustrated
by Valenti Angelo (p. 19), copyright © 1936 Ruth
Sawyer; Crow Boy by Taro Yashima, copyright ©
1955 by Mitsu and Taro Yashima. All reproduced
by permission of The Viking Press, Inc.
HENRY Z. WALCK, INC.— Illustration from Mother
Goose by Tasha Tudor, copyright 1944 Henry Z.
Walck, Inc.
FREDERICK WARNE & CO., INC.— Illustrations
from: A Nursery Rhyme Picture Book Number
Two by L. Leslie Brooke; from “John Gilpin,”
Picture Book Number 1, illustrated by Randolph
Caldecott; Mother Goose or The Old Nursery
Rhymes by Kate Greenaway; The Tale of Peter
Rabbit by Beatrix Potter. All reproduced by per-
mission of the publishers, Frederick Warne & Co.,
Inc.
FRANKLIN WATTS, INC.-^Quotations from: The
First Book of American History by Henry Steele
Commager, illustrated by Leonard Everett Fisher,
copyright 1957 by Henry Steele Commager; The
First Book of The Early Settlers by Louise Dickin-
son Rich, illustrated by Douglas Gorsline, copy-
right 1959 by Louise Dickinson Rich; illustration
from The First Book of Medieval Man by Donald
Sobol, illustrated by Lili Rethi, copyright 1959 by
Donald Sobol. All reproduced by permission of
Franklin Watts, Inc.
WHITTLESEY HOUSE— Illustration from The
Happy Lion by Louise Fatio, pictures by Roger
Duvoisin, copyright 1954 by Louise Fatio Duvoisin
and Roger Duvoisin, reproduced with permission
of Whittlesey House, a division of McGraw-Hill
Book Co., Inc.
THE WORLD PUBLISHING COMPANY— Illus-
trations from: / Went To The Animal Fair by
William Cole, illustrated by Colette Rosselli, 1958;
A Pair of Red Clogs by Masako Matsuno, illus-
trated by Kazue Mizamura, 1960; both reproduced
by permission of The World Publishing Company,
Cleveland and New York.
THE YALE & TOWNE MANUFACTURING COM-
PANY— Photograph of "The Reading Aloud Book-
shelf,” used by permission.
THE YALE UNIVERSITY PRESS— Quotations from
The Lonely Crowd by David Riesman, Nathan
Glazer and Reuel Denney, 1955, reprinted by per-
mission of The Yale University Press.
Illustrations page 18, left: Mary Poppins (Harcourt);
right: Rabbit Hill (Viking). Page 19, left: The
Borrowers (Harcourt), Stuart Little (Harper);
right: Roller Skates (Viking). Page 462: A Hole Is
to Dig (Harper).
CONTENTS
FOREWORD xvii
PREFACE xix
Part One. MEETING BOOKS AND CHILDREN 1
THE WORLD OF BOOKS 2
1— Growth Patterns and Book Selection 3
KNOWING CHILDREN 4
Guides from Child Development 4
Guides from Learning Theories 5
Guides Based on Children’s Interests 5
Guides for Ages and Stages 8
Guides for Studying Children 13
KNOWING BOOKS 15
The Need for Good Book Selection 15
Criteria for Book Selection 16
The Classics in Children’s Literature 22
Children’s Book Awards 24
Book Selection Aids 29
SUMMARY 32
SUGGESTED ACTIVITIES 32
RELATED READINGS 33
CHAPTER REFERENCES 34
ix
x - Contents
2-Children’s Books of Today, Yesterday, and Tomorrow 39
CHILDREN’S BOOKS TODAY 40
Big Business 40
Better Quality and More Variety 42
CHILDREN’S BOOKS YESTERDAY 42
Children’s Books: Seventeenth — Eighteenth Century 43
Children’s Literature: Nineteenth Century 51
Children’s Literature: Twentieth Century 64
CHILDREN’S BOOKS TOMORROW 69
SUMMARY 70
SUGGESTED ACTIVITIES 70
RELATED READINGS 70
Part Two. KNOWING CHILDREN’S LITERATURE 73
3— Children Read Pictures 75
AT MOTHER’S KNEE 75
First Books 76
“Participation” Books 77
ABC Books and Counting Books 78
MOTHER GOOSE 80
Appeals of Mother Goose 80
Different Editions of Mother Goose 83
PICTURE BOOKS 88
Definitions of Picture Books 88
Criteria for Selection 89
Types and Themes of Picture Books 99
Illustrators of Picture Books 106
SUMMARY 112
SUGGESTED ACTIVITIES 112
RELATED READINGS 1 1 3
CHAPTER REFERENCES 113
4— Children Seek Information About the Physical World 120
USING INFORMATIONAL BOOKS 120
A Case Study 120
Criteria for Informational Books 128
Contents - xi
TYPES OF SCIENCE BOOKS 133
Experiment Books 133
Man 135
Animals 137
Plants 140
Weather 141
Earth 142
Energy and Its Uses 143
Space 144
SUMMARY 146
SUGGESTED ACTIVITIES 146
RELATED READINGS 146
CHAPTER REFERENCES 147
5— Children Seek Information About People and Places 153
BOOKS AND THE SOCIAL STUDIES 155
The Social Studies Curriculum 155
Books in the Social Studies Curriculum 156
Criteria for Books About People and Places 156
TYPES OF BOOKS ABOUT PEOPLE AND PLACES 157
The Earth as Man’s Home 157
Man and His Social Processes 158
People in the United States 166
People in Other Lands 170
SUMMARY 185
SUGGESTED ACTIVITIES 186
RELATED READINGS 186
CHAPTER REFERENCES 186
6— Children Identify with their Historical Heritage 193
FACTUAL BOOKS OF HISTORY 195
Criteria for Factual Books of History 195
World History 195
American History 199
BIOGRAPHY 205
Criteria for Juvenile Biography 205
Biographical Series 208
Well-Known Biographers of Juvenile Literature 209
Types of Biographies: Lincoln Comparisons 216
HISTORICAL FICTION 221
Criteria for Historical Fiction 221
xii • Contents
Historical Fiction — The New World 222
Historical Fiction — Old World 227
SUMMARY 230
SUGGESTED ACTIVITIES 230
RELATED READINGS 230
CHAPTER REFERENCES 231
7-Children Seek Understanding of Self and Others 238
UNDERSTANDING SELF AND OTHERS 238
Books in the Culture 239
Books Lead to Understanding 240
BOOKS TO DEVELOP UNDERSTANDING 245
"Growing Up” 245
Learning to Live with Physical Handicaps 253
The Gang Creates Tensions 254
Moving Toward Adulthood 256
BOOKS HELP CHILDREN ACCEPT DIFFERENCES 258
Differences in Racial Backgrounds 259
Differences in Religious Backgrounds 264
TOWARD UNDERSTANDING— THROUGH GUIDED READING 265
Bibliotherapy 265
Guiding Interpretation and Understanding 266
SUMMARY 267
SUGGESTED ACTIVITIES 267
RELATED READINGS 268
CHAPTER REFERENCES 268
8-Children Enjoy Folk, Fun, and Fancy 272
FOLKTALES 272
Origin of Folk Tales 273
Themes in Folk Tales 274
Types of Folk-Tale Books 283
Using Folk Tales 287
FABLES 288
Origin of Fables 288
Collections 289
Examples of Fables 289
Using Fables 289
MYTHS AND LEGENDS 290
Origins of Myths and Legends 290
Myths and Legends in the Elementary School 290
Books of Myths 291
Contents - xiii
Epics and Legends for Children 293
Using Myths and Legends 294
MODERN FANTASY 294
Modem Folk-Tale Style 294
Modern Fairy Tales 296
Animal Fantasy 298
The World of Toys and Dolls 800
Other Fantasy 301
HUMOROUS BOOKS 305
Strange and Amusing Characters 306
Amusing Animals 308
Fun in Everyday Happenings 810
SUMMARY 312
SUGGESTED ACTIVITIES 312
RELATED READINGS 313
CHAPTER REFERENCES 313
9— Children Respond to Poetry 319
POETRY FOR TODAY'S CHILDREN 320
What Is Poetry? 320
Satisfactions of Poetry 320
SELECTING POETRY FOR CHILDREN 323
Forms of Poetry for Children 323
The Content of Children’s Poems 325
Children’s Poets and Their Books 333
Anthologies of Poems for Children 337
USING POETRY WITH CHILDREN 340
Introducing Poetry to Children 340
Children Share Poetry 343
SUMMARY 344
SUGGESTED ACTIVITIES 345
RELATED READINGS 345
CHAPTER REFERENCES 346
10— Children Have Special Interests 349
ANIMAL STORIES 349
Life-Cycle Stories 350
Horse Stories 350
Dog Stories 352
Evaluating Animals Stories 354
ADVENTURE STORIES 855
xiv - Contents
SPORTS BOOKS 356
Informational Books 356
Stories 356
SPACE FICTION 357
MYSTERY STORIES 358
BOOKS FOR HOLIDAYS 359
Christmas 359
Hallowe'en 361
Other Holidays 362
Holiday Collections 362
BOOKS FOR HOBBIES AND CRAFTS 363
BOOKS ABOUT ART AND MUSIC 365
Art 365
Music 365
ENCYCLOPEDIAS 366
MAGAZINES FOR CHILDREN 367
SUMMARY 368
SUGGESTED ACTIVITIES 369
RELATED READINGS 369
CHAPTER REFERENCES 369
Part Three. USING LITERATURE WITH CHILDREN 375
11— Planning the Reading Environment 377
CREATING THE READING ENVIRONMENT 378
Obtaining Books 378
Pupil Participation 379
Classroom Arrangement 379
Teacher-made Displays 380
SHARING LITERATURE WITH CHILDREN 382
Reading to Children 382
Books for the Teacher to Read Aloud 383
Storytelling 386
FURTHERING INTEREST IN LITERATURE 389
Knowing Authors and Illustrators 389
Using Audio-Visual Aids 390
Trips and Excursions 394
WORKING WITH PARENTS AND THE COMMUNITY 394
Parents and Children’s Reading 394
Extending Community Interests 396
SUMMARY 397
Contents - xv
SUGGESTED ACTIVITIES 398
RELATED READINGS 398
CHAPTER REFERENCES 399
12— Children Interpret Literature 401
CHILDREN’S BOOK REPORTS 402
Talking About Books 402
Writing About Books 404
Evaluating Book Reports 406
INTERPRETING BOOKS THROUGH CREATIVE WRITING 407
Motivating Writing through Books 408
Developing Language Awareness 409
Motivating Writing through Poetry 412
INTERPRETING BOOKS THROUGH ART EXPERIENCES 414
Illustrating Books 414
Arranging Displays 416
Developing Time Lines 419
Planning Murals 420
Constructing Box Movies 420
Telling Stories with a Felt Board 421
Planning Bulletin Boards 421
Making Mobiles 422
Using Projectors 423
INTERPRETING BOOKS THROUGH CREATIVE DRAMATICS 423
Creative Dramatics Defined 423
An Account of Creative Dramatics 425
INTERPRETING BOOKS THROUGH PUPPETRY 430
Value of Puppetry 430
Selecting Stories for Puppetry 431
Constructing Puppets and Marionettes 431
INTERPRETING BOOKS THROUGH GAMES 432
Guessing Games and Riddles 432
Table Games 434
Individual Puzzles and Games 435
CHILDREN STUDY THEIR LITERATURE 437
Initiation 437
Learning About Printing and Publishing 438
Learning About Types of Books 438
Activities Related to the Study 438
SUMMARY 441
SUGGESTED ACTIVITIES 441
RELATED READINGS 442
CHAPTER REFERENCES 442
xvi - Contents
13-Children and Books in the Modern School 446
PLANNING THE LITERATURE PROGRAM 446
Need for a Planned Program 446
Literature and the Reading Program 447
Special Periods for Literature 449
Providing Time for Literature 451
USING LIBRARY RESOURCES 452
The Elementary-School Librarian 452
Using Public Library Services 456
ISSUES CONCERNING CHILDREN’S LITERATURE 457
Where is the Elementary-School Library Located? 457
Should Classics be Required Reading? 457
What is the Place of the Rewritten Classic? 458
Selection or Censorship? 458
What About Comic Books? 458
EVALUATION OF THE LITERATURE PROGRAM 459
Evaluation as a Process 459
Guide for Evaluating the Literature Program 460
Lifetime Reading Habits 462
RELATED READINGS 463
CHAPTER REFERENCES 463
APPENDIXES 465
A. Children’s Book Awards 467
B. Book Selection Aids 484
C. Publishers of Children’s Books 493
D. Book Exhibits and Book Clubs 496
INDEXES
Subject Index
Author, Illustrator, Title Index
499
504
FOREWORD
The task of writing a professional book
concerned with children’s literature is one
of the most difficult in the field of educa-
tion. Ideally, it calls for a specialized and
encyclopedic literary knowledge that ranges
over a span of centuries, an understanding
of the inner world of childhood, and an un-
usual capacity for hard work. In addition to
these virtues, the author with sufficient te-
merity to undertake such a book must have
an intimate grasp of the art of teaching in
a wide variety of schools and at the various
grade levels encompassed by the elementary
school. On top of everything else, the field
of literature is interwoven — like a gold-
thread design — into the fabric of all subject-
matter areas: science, social studies, even
mathematics, and, of course, in the language
arts. This interweaving creates the further
requirement that the specialist in literature
be uniquely well-informed about the con-
tent of literature to which children are ex-
posed in school.
Especially in view of the versatility that
was required, Charlotte S. Huck and Doris
A. Young richly deserve professional recog-
nition for writing Children's Literature in
the Elementary School. Not only is it read-
able — the book is also authoritative, com-
prehensive, and important because of the
fresh and vital approach which the authors
make in explaining so clearly how to make
literature function significantly in the edu-
cation of children.
The inexperienced teacher will find secur-
ity and a sense of purpose as he reads this
book and even the most seasoned reader will
find himself saying, “This is going to help
me to do a better job!”
I am pleased and proud to say in this brief
foreword that Dr. Huck and Dr. Young, one-
time students in my graduate classes, have
“turned the tables” and taught me a great
deal during the hours I spent reading their
delightful and informative manuscript on
the eve of its publication. I warmly recom-
mend it to all of us who seek to improve
teaching and learning in our schools.
Harold G. Shane
Dean, The School of Education
Indiana University
XVII
PREFACE
Children's Literature in The Elementary
School has been designed for prospective
elementary teachers, in-service teachers, li-
brarians, and others with special interests in
literature for children. It has been written
from the point of view of the elementary
classroom teacher who needs to know the
literature which is available for children,
criteria for evaluating books, and ways of
using them in the curriculum. A major pur-
pose is to help the teacher or librarian in-
tegrate knowledge of children, books, and
the learning process.
The authors have been vitally concerned
with the improvement of teacher education
through undergraduate courses in elemen-
tary education, student teaching supervision,
and work with teachers in public schools.
When working with students in courses of
children's literature and methods of instruc-
tion in language arts, science, and social
studies, the need for a guide which would
help teachers utilize children’s literature in
the total elementary -school program was
recognized. Frequently, the emphasis in
books dealing with children’s literature has
been upon books rather than upon the ways
teachers can use literature in the classroom
to meet children’s needs and interests, to
deepen their insights, and to heighten their
appreciations. The stress which has been
placed upon instructional reading programs
has overshadowed, and sometimes hindered,
the development of children who enjoy
reading. It is the hope of the authors that
the teachers and librarians who use this
book will develop skill, ability and enthu-
siasm in promoting lifetime reading habits
among boys and girls.
Children's Literature in the Elementary
School was written as a text for college
courses concerned with children’s literature.
The authors hold the view that a text serves
as a reference during a course, providing
background information which is extended
through class discussion and other activities.
After reading the examples of books in-
cluded in this text, students should be en-
couraged to bring to class other examples
of children’s books for analysis and discus-
sion. As part of a total teacher-education
program, children’s literature courses should
make use of laboratory experiences. Many
of the activities listed at the end of the
chapters will guide students in their study
and understanding of children. Other sug-
gested activities would provide opportuni-
ties for students to develop skill in the crea-
xix
xx - Preface
tive arts. Teachers who have participated in
such experiences will be more competent in
guiding children's interpretation of litera-
ture.
We believe that no text about children's
books can substitute for wide reading of
books for children. Descriptions of classroom
activities cannot provide the jo; and under-
standing which result from the actual shar-
ing of reading experiences with children.
We hope that readers of this text will find
the deep satisfactions which come from dis-
covering new books, knowing children’s au-
thors and illustrators, and introducing them
to boys and girls.
The authors wish to express their appre-
ciation to the children, classroom teachers,
and college students who by sharing their
enthusiasm for books emphasized the im-
portance of the theme of this text. We also
are grateful to Harold G. Shane for his very
real interest and continuing encouragement,
for reading the manuscript, and for writing
the Foreword. We are indebted to Jean Le
Pere and Carolyn Whitenack for their care-
ful reading and criticism of the manuscript;
to Elaine Turner for her invaluable research
contributions in its preparation; to Barbara
Friedberg for her interest and description of
the teaching unit on children’s literature.
We are grateful to Barbara Ade, Betty
Curtin, and Mary Olsen for their aid in the
arduous task of typing the manuscript.
The authors also acknowledge with ap-
preciation the following persons and school
systems for permission to use photographs
from their files: Hortensia Dyer of the Co-
lumbus Public Schools, Ohio; John Sternig
of the Glencoe Public Schools, Illinois; Fern
Falk of the Hammond Public Schools, In-
diana; Ralph Taylor of the San Diego
County Schools, California and Edith Ed-
monds and William Martin of the Winnetka
Public Schools, Illinois. We also wish to thank
The National Education Association and
The Yale & Towne Manufacturing Company
for their permission to reproduce photo-
graphs. Finally, we are grateful to Donald
Bowser and R. E. Peterson, photographers,
and to The Ohio State University Depart-
ment of Photography for their skill and ad-
vice.
C. S. H.
D. A. Y.
Columbus, Ohio
Lafayette, Indiana
April, 1961
2 - Meeting Books and Children
THE WORLD OF BOOKS
Parents and teachers are pleased and proud new concepts are formed. Experiences in
when children enter the “world of books.” If reading provide the energizing force for this
a cartographer tried to create a map of this process of growing, stretching, splitting, and
elusive world of books, he could include shedding of old ideas as new truths are dis-
mountain peaks of adventure and valleys covered.
shadowed by fears and suspense. There would Children seek truth about the world and
be broad plains of information, rivers spark- its people; they want to know themselves and
ling with laughter, and caves of mystery. Ex- where they belong. To see their own lives
posed rock strata would reveal life in the clearly, children need to look into the con-
past. Snug harbors would indicate comfort trasting experiences of others. They want to
and security. New interests would sail forth know what is “right” in their society. Litera-
on exploration of the oceans in that world. ture communicates these cultural values.
This universe stretches toward the unknown Children also sense a need to discover the
where one can meet strange places and differ- common elements in human experiences,
ent people. The “literature world” is con- They search for inner peace and understand-
stantly expanding; teachers cannot traverse ing of the universe. These purposes may be
each road, nor can each child travel to all the satisfied in the world of books,
corners of that world. But the teacher can re- The adult cannot insist that a child enjoy
veal the “world of books” to the child; she a book if it does not bring him satisfaction,
can show him the map, and help him begin The adult concept of a good book may not
his lifetime of exploration. coincide with the child’s view, only the reader
Children, just as adults, change their pur- experiencing the book can make that deci-
poses for reading according to changing sion. Children will turn to whatever is avail-
needs. Dad may relax with an Agatha Chris- able in their search for truth, fun, and beauty,
tie mystery when he is tired and tense; Tim, The task of the teacher and librarian is to
his ten-year-old son, with a comic book. Later, guide children into the world of books where
Tim may want to know all about snakes, and they will find joy in living through savoring
he will read avidly until this curiosity is sat- beautiful and interesting words as they sat-
isfied. The child may not know why he likes isfy their many purposes for reading. Teach-
a book or what purpose he is satisfying as he ers and librarians are challenged to know
reads it. He only knows that as he reads, he children and books so the two may meet in
has an enjoyable experience. Children feel that mystic world in which the child goes
good when their mental and emotional skins beyond himself to better understand the uni-
stretch tautly, then crack and break apart as verse and people in it.
A book is to read. From A Hole Is
to Dig by Ruth Krauss. Illustrated
by Maurice Sendak. Harper, 1952.
1- Growth Patterns and Book Selection
At ten o'clock on a sunny April morning,
Helen Merrill rang her neighbor’s kitchen
doorbell and called, “Time for coffee." Mar-
ion McGraw opened the door, a cup of coffee
in one hand. “I’ve already started, Helen.
I’m exhausted after getting the kids off. Last
night's family fight continued this morning."
Pouring coffee for her friend, she contin-
ued, “Ever since the last report card came
home, Tom’s been trying to help Chuck with
his reading. The teacher wrote a note and
told us to help him. Tom said he’d take over,
and last week he came home with Treasure
Island . Every night before dinner they sit
down and Tom tries to get him to read. Hon-
estly, that child just doesn’t know a word!
Last night Chuckie stumbled over the words;
Tom was tired and exasperated. Finally,
Chuck threw the book across the room and
said he hated that old book and he never
could read it anyway. Tom said he loved it
and read it when he was eight. Chuck is nine
and he just doesn't read any books. It seems
to me the school isn't doing a very good job.
Tom said I’d better go over today and find
out what they are doing. Chuck doesn't want
me to go to school, and he stomped out of
the house this morning. I don’t know why he
can’t read and enjoy books the way your
Susan does."
The teacher who meets this disturbed par-
ent will be challenged to explain the school's
reading program. She will need to inform the
parent of developmental characteristics of
most nine-year-olds and what this means for
reading. She should be ready to give specific
suggestions for helping Chuck in terms of his
individual reading problems and his inter-
ests. It is apparent that this mother wants
to cooperate with the school in guiding her
child’s reading. The teacher will have to help
her understand factors which should be con-
sidered in book selection. Choosing books for
children is a process based upon knowledge
of child development, learning, and the field
of children’s literature.
3
4 - Meeting Books and Children
KNOWING CHILDREN
Guides from Child Development
Research in child development has contrib-
uted knowledge about children which pro-
vides guideposts for selecting books. Some
principles derived from these careful studies
of children’s growth establish a basis for guid-
ance of children in learning activities. The
child-development point of view begins with
the recognition and the acceptance of the
uniqueness of childhood. Children are not
miniature adults, but individuals with their
own rights, needs, interests, and capacities.
This concept suggests a need for a body of
literature capturing the wonders, humor, and
disappointments of childhood.
Growth studies have revealed similarities
in patterns of physical, mental, social, and
emotional growth. The characteristics of these
different maturity levels should influence and
guide teachers’ expectations of child perform-
ance. For example, the teacher of children in
the primary grades will provide literature re-
lated to their egocentric interests. Stories
about the immediate environment and every-
day life will give satisfaction to this age
group. Forgetting the pleasures of a leisurely
walk with Grandfather, some adults might
consider this experience unworthy subject
matter for a children’s book. Helen Buckley,
however, has recaptured the childhood sig-
nificance of this event in Grandfather and /.
Recognizing the expanding interests of eight-
to twelve-year-olds, the teacher in the inter-
mediate grades will select a wide variety of
books. The school expects the range of indi-
vidual differences to widen with increased
educational opportunity. This necessitates
provision of material of many reading levels.
Studies of children’s understanding of time
have significance for book selection. When
children can understand the chronology of
historical events, they will enjoy books about
their historical past. In order to develop un-
derstanding of expectations in terms of child
development, students of children’s literature
will need to become familiar with such stud-
ies as those of Gesell and Ilg, Olson, Millard,
and Russell . 1
Patterns of growth vary within the indi-
vidual child. For example, a child may be at
one level of physical maturity and at another
level of social development. While there may
be unevenness in development, child be-
havior usually reflects the interrelation of
growth. The rate of total growth within the
individual child will vary at different pe-
riods. Reading interests and habits will
change with changing patterns of growth.
The child who has gained independence in
reading will suddenly become an avid reader.
The pressure of social activities and peer ac-
ceptance may take precedence over reading
during preadolescence.
Studies of human development have also
indicated that satisfaction of certain basic
needs is essential for continued growth. To
achieve security in his environment the in-
dividual needs to feel he is:
• loved and understood
• successful and recognized
• a member of groups significant to him
• achieving and growing toward independ-
ence through new. experiences
Books alone cannot bring satisfaction of these
basic needs. Literature can provide opportu-
nities for vicarious experience through iden-
tification. Children enjoy Caddie Wood-
lawn’s escapades; they also find security as
they read of her parents’ understanding. Two
books, Sharp’s Nkxvala and Krumgold’s
Onion John will help children identify and
understand the achievement of independence
in two different cultures. Books may also help
children gain a feeling of success as they sat-
1 Arnold Gesell and Frances Ilg, The Child from
Five to Ten. New York: Harper & Brothers, 1949.
Willard C. Olson, Child Development. Second Edi-
tion. Boston: D. C. Heath & Co., 1959. C. V. Millard,
Child Growth and Development. Boston: D. C. Heath
& Co., 1958. David H. Russell, Children's Thinking.
Boston: Ginn Sc Co., 1956.
Growth Patterns and Book Selection - 5
isfy their desires for new experiences through
informational books.
Other studies have made clear the influ-
ence of society upon the development of the
individual. In the American culture certain
developmental tasks were identified by Ha-
vighurst. 2 A developmental task is a task
which arises during a certain period in the
life of the individual. When this task is suc-
cessfully achieved the individual feels satis-
faction and approval of society. The achieve-
ment of one task leads to successful achieve-
ment of the tasks of the following level of
growth. Some of the developmental tasks with
which the elementary school child needs as-
sistance are:
• Developing a satisfactory self concept
• Learning to get along with peers
• Learning his appropriate sex role
• Developing skills in reading, communi-
cating, and using numbers
• Developing scientific and social concepts
necessary for effective everyday living
• Developing values, attitudes, and con-
science
• Developing self-direction
Although they have been mainly concerned
with achievement of skills and knowledge,
elementary schools have a responsibility for
helping children meet all these developmen-
tal tasks. Literature may play an effective role
in realizing this purpose of education. The
Hundred Dresses by Estes, Robert E by Mus-
grave, . . . and Now , Miguel by Krumgold,
Ginnie and the New Girl by Woolley, and
Call It Courage by Sperry are only a few ex-
amples of the many books which help chil-
dren understand themselves and others.
Other books which will help children meet
developmental tasks will be discussed in
Chapter Seven.
Guides from Learning Theories
Investigations of the learning process have
yielded information about the conditions
* Robert J. Havighurst, Developmental Tasks and
Education. New York: Longman’s, Green & Company,
Inc., 1950. p. 6.
necessary for learning and have suggested
learning theories which are basic to the de-
velopment of classroom procedures. The fol-
lowing principles are considered as teachers
plan learning experiences for children:
• Learning and behavior are caused
• Learning results from individual goal
seeking
• The learner reacts as a whole
• Learning is a problem-solving process
• Learning implies activity
• Learning occurs through interaction with
the total environment
• Readiness is essential for learning
• A single experience may result in mul-
tiple learnings, including values and
attitudes
• Learning is achieved more rapidly and
easily when the material is meaningful
and related to the whole
• Approval helps the learner recognize ap-
propriate responses
• Successful experiences lead to higher
levels of learning
• Children seek appropriate experiences
according to the wisdom of the body
and mind
Chapters 1 1 and 13 define the role of teachers
and librarians in planning the school day
and providing facilities for effective learning
through literature. The activities for chil-
dren’s interpretation of literature, which are
described in Chapter 12, suggest means for
the implementation of these principles.
Guides Based on Children’s Interests
Rousseau at the close of the eighteenth cen-
tury emphasized the place of interest in the
education of Emile; 3 since that time educa-
tors have been concerned about developing,
expanding, and utilizing children's interests.
Interest is an elusive factor, but teachers
know that this subtle element which focuses
attention is essential to the learning process.
Interests have been defined as preferences,
drives, feelings of satisfaction, or mental ex-
S J. J. Rousseau, Emile trans. by Barbara Foxley.
New York: E. P. Dutton & Co., 1925.
6 - Meeting Books and Children
citations. Although there have been many
studies of children's preferences, their wishes,
their favorite activities, and their reading
choices, there is still uncertainty about this
channeling force which causes an individual
to seek particular objects or activities.
Research has revealed that interests are de-
termined by several factors. The physiologi-
cal structure of the individual leads to some
interests or limits; for example, a slow-mov-
ing, poorly coordinated girl who tends to be
overweight will probably not express interest
in the actual skill of dancing, yet this very
lack may promote her desire to read about
ballet. Sex is also a determinant of interest
in that the culture decrees interests in terms
of sex roles. Girls may be interested in dolls,
but are not expected to express interest in
mechanics. The child acquires interests which
bring approval through conformity to social
expectations. A sixth-grade girl may not be
“interested" in horses or horse stories, but if
most of the girls in her group express these
interests, she will also ask for books related
to this theme. Boys in the group may reject
horse stories because “those are just for girls.”
Interests become a part of personality through
the process of identification. The child who
observes the enthusiasm of parents and teach-
ers for reading may emulate this behavior as
he seeks their approval. Getzels pointed out
that “One cannot so much teach interests as
offer appropriate models for identification
[sic].” 4
To a great extent, interests depend upon
the self concept of the child. If his early ex-
periences have led him to say, “I’m afraid to
try new things. I must wait until mother or
teacher says I can go ahead,” his curiosity
will be stunted and interests limited. The
child who feels adequate for the task at hand
can explore new areas of living. He develops
a rich background of experience which may
lead to new interests. The child cannot be
4 Jacob W. Getzels, “Psychological Aspects,” in
Developing Permanent Interest in Reading , Helen
Robinson, Editor, Supplementary Educational Mono-
graphs, No. 84. Chicago: University of Chicago Press,
1956. p. 9.
interested in something which does not exist
for him; therefore, the school, home, and
community must provide opportunities for
children to have many first-hand and multi-
sensory experiences. Through a background
of meaningful experience he can build in-
terests.
RESEARCH REVEALS INTERESTS
There have been many investigations of ele-
ments which attract children to books. Other
studies have identified preferred content and
most popular books. Research in the area of
general interests has suggested implications
for children’s interests in literature. Factors
in literature which appeal to children have
remained relatively constant. In 1921 Dunn 5
found that surprise, plot, repetition, animals,
narrativeness, liveliness, and familiar experi-
ence especially appealed to primary children.
Witty 6 and others found that animal stories,
books with humor in narration, stories of real
boys and girls, and books about children in
other lands were favorites of children in the
intermediate grades.
Gunderson 7 reported that seven-year-olds
described their favorites as funny, exciting,
or magic. She noted that this age group pre-
ferred an ending in which justice triumphs
and the leading character accomplishes an
unusual or unexpected feat. Sevens like the
realistic to be personified. One second-grade
teacher reported the following comment
about the book, The Cock , the Mouse, and
the Little Red Hen by Lefevre:
“I like the stories in this book and I know half
of them. I like something that tells something like
this book does. The animals say something. Some
books you pick up don’t tell stories. Like The
Cat in the Hat and The Cat in the Hat Comes
Back — I can read all those easy words but they
6 Fannie W. Dunn, Interest Factors in Primary
Reading Material. Contributions to Education, No.
113. New York: Bureau of Publications, Teachers
College, Columbia University, 1921.
•Paul Witty, Ann Coomer, and Dilla McBean,
"Children’s Choices of Favorite Books,” Journal of
Educational Psychology 37:266-78, May, 1946.
7 Agnes G. Gunderson, “What Seven Year Olds Like
in Books,” Elementary English 30:163-66, March,
1953.
Growth Patterns and Book Selection - 7
don't tell you anything. The pictures were funny,
but I didn’t like the story." Other slower readers,
when questioned about these two books, indicated
that the illustrations had great appeal and the
rhyming words helped them read the books, but
they felt the stories didn't make sense. On the
other hand, some faster readers were amused by
the conversation, as shown in this reaction: "I
loved the illustrations. It was a very funny story.
They said such funny things." 8
In a conference with her teacher a third
grader revealed her likes and dislikes about
various books:
When Arlene brought her book to one of the
late-in-the-year conferences, she said seriously,
"This is a boring book." She had been reading
books by the same author with great interest for
some weeks past. Now she faced her problem real-
istically and turned to new material.
Developing the ability to make discriminations
is a part of becoming a skillful reader. Children
who read widely and independently can do this
on their own.
Here is what Arlene said: “I didn’t like this
book like some of the other Bulla books. I espe-
cially liked The Sword in the Tree. This book,
Surprise for a Cowboy, didn’t have very many ex-
citing and interesting things in it. It seemed sort
of easy. It got sort of boring because it was the
same thing all the time.
" The Sword in the Tree was so exciting. I read
it in a quarter of a day. It wasn’t boring at all.
I’ve read a lot of other Bulla books and I liked
them. They were real exciting. The people in the
books found out so many interesting things, and
so did I. I like to learn about things that I’ve
never seen or about things that have never hap-
pened to me before or maybe about things that
happened in the olden days.
"This book, Surprise for a Cowboy, kept talk-
ing — just a boy, just a ranch, and just the same
old thing all over. Nothing really, really exciting
happened, you know, that would teach you some-
thing." 9
Summarizing responses from 24,000 children
in grades three to six, Norvell 10 reported that
animal stories ranked first, with biography
in second place. He found that girls enjoy
8 Esther Schatz, et at.. Exploring Reading in the
Primary Grades. Study of Independent Reading, Bul-
letin No. 2. Columbus, Ohio: College of Education,
The Ohio State University, 1960. p. 35.
• Ibid., p. 68.
10 George W. Norvell, What Boys and Girls Like to
Read. New York: Silver Burdett Co., 1958.
books in which boys or men are principal
characters, but boys do not enjoy books in
which girls or women predominate. Children
preferred poetry with humor and poems about
animals and holidays, while poems about na-
ture and fairies and didactic poems were dis-
liked. Lazar 11 listed adventure, action, mys-
tery, realism, child life, humor, animal life,
and sports as elements which appealed to
middle-grade children. With advancing age,
boys turn to realistic narratives of adventure,
while girls continue to favor themes of home
life and begin to read romantic stories.
Illustrations, color, format, type of print,
and style have been factors studied to deter-
mine reading preferences, but it is difficult
to reach clear-cut generalizations from this
research. Children do prefer space on the
page and larger type. However, their pref-
erences change as reading skill develops. A
second-grader who had tried Shirley Temple's
Storybook said the stories were too difficult,
yet she recognized her evaluation would
change:
“I know a lot of the stories, but they are hard
to read in this book because the words are all
scrunched together." When questioned about
what she meant, she said, “Well, you know, the
words are like they are in Cowboy Sam and the
Rodeo that I read last fall. They are too close to-
gether.” Then, in comparing Cowboy Sam and
the Rodeo and Shirley Temple's Storybook, she
discovered to her amazement that the print in the
Cowboy Sam book no longer seemed small or too
close together. After making this observation, she
said, "Maybe next year I'll read Shirley Temple's
Storybook .” 1 -
Parental pressure related to size of print can
also influence children's choices. If a child
is expected to read books with small print,
he may feel pressured to select books which
“appear" to be more difficult. Interest in
gaining approval of others may take prece-
dence over personal choice.
11 May Lazar, Reading Interests, Activities and Op-
portunities of Bright, Average, and Dull Children.
Contributions to Education, No. 707. New York:
Bureau of Publications, Teachers College, Columbia
University, 1937.
12 Schatz, et al., op. cit., p. 36.
8 - Meeting Books and Children
Six-year-olds enjoy short, simple stories. Columbus,
Ohio Public Schools.
Children’s general interests have been
identified through observation, inventories,
diaries, and other creative expressions. It
would be expected that reading interests
would be reflected in children’s informa-
tional needs. When Baker 13 asked over 1000
children to write questions they would like
to ask, she found interest in animal life, com-
munication, and the earth were predominant.
Through use of observation and several in-
struments, Young 14 found that the universe,
18 Emily V. Baker, Children's Questions and Their
Implications for Planning the Curriculum . New York:
Bureau of Publications, Teachers College, Columbia
University, 1945.
14 Doris Young, “Identifying and Utilizing Chil-
dren’s Interests,” Educational Leadership 13:161-5,
December, 1955.
animals, earth, human growth, and the
weather were the major science interests of
intermediate grade children. Science subjects
were also among the first three categories of
interest identified by Shores . 15 Boys more fre-
quently wanted information about geology,
geography, and rockets, while girls tended to
seek information about foreign countries,
history, and famous authors and artists. He
concluded, however, that children are not
necessarily interested in reading about the
same things they ask about. The child may
not want to read an entire book about gen-
eralities; specific information is sought. The
comment of a third-grader reflects this need
for specific information:
That dinosaur book is easy and I’m interested,
but it just tells things I already know. You know,
it just says that they lived millions of years ago. I
already know that. I want to know names, how to
pronounce them, and so forth. . . 16
Literature can both develop and extend chil-
dren’s interests. Understanding the develop-
ment of interest in the cultural matrix will
help parents, teachers, and librarians study
interests of individual children. This knowl-
edge will help them to effectively guide chil-
dren’s reading.
Guides for Ages and Stages
Adults who are responsible for children’s
reading need to be aware of the guides from
child development, learning theory, and
children’s interests. They recognize charac-
teristics and needs of children at different
ages and stages of development. At the same
time it is important to remember that each
child has his unique pattern of growth. The
following outline describes some character-
istic growth patterns, suggests implications
for selection and use of books, and provides
examples of suitable books for that particu-
lar stage of development.
15 J. Harlan Shores, “Reading Interests and Infor-
mational Needs of Children in Grades 4-8,” Elemen-
tary English 31:493-500, December, 1954.
19 Schatz, et al., op. cit. p. 56.
Growth Patterns and Book Selection • 9
BOOKS FOR AGES AND STAGES
Preschool and Kindergarten
CHARACTERISTICS
IMPLICATIONS
EXAMPLES
Rapid development of language.
Interest in words, enjoyment of
rhymes, nonsense and repetition.
Mother Goose
Krauss, A Very Special House
G£g, Millions of Cats
Continuous activity, short atten-
tion span.
Requires books which can be com-
pleted “in one sitting.”
Enjoys participation through nam-
ing, touching, and repeating
phrases.
Three Billy Goats Gruff
Kunhardt, Pat the Bunny
Munari, Who’s There ? Open the
Door !
Francoise, The Things I Like
Concepts and behavior are ego-
centered.
Likes stories in which he is clearly
identified. In telling a story,
teacher or parent may substitute
his name for the main character.
Brown, Good Night Moon
Krauss, The Growing Story
Rand, I Know a Lot of Things
Curious about his world.
Stories about everyday experi-
ences, pets, playthings, home, peo-
ple in his immediate environ-
ment are enjoyed.
Flack, Angus and the Ducks
Lenski, Papa Small
Simon, The Daddy Days
Marino, Where are the Mothers?
Yashima, Umbrella
Enjoys imaginative play.
Likes stories which personify the
inanimate. Talking animals are
appreciated.
Goldilocks and the Three Bears
Burton, Mike Mulligan and His
Steam Shovel
Gramatky, Little Toot
Will-Nicholas, Finders Keepers
Seeks warmth and security in re-
lationships with adults.
Enjoys the individual attention of
storytime. Requires poetic justice
and happy endings. The ritual of
the bedtime story begins litera-
ture experiences.
Potter, Peter Rabbit
Minarik, Little Bear
Flack, Ask Mr. Bear
Flack, Wait for William
Zolotow, The Night When
Mother Was Away
Beginning to seek independence
from adults.
Books can help children adjust to
new and frightening experiences.
Brown, The Runaway Bunny
MacDonald, The Little
Frightened Tiger
Early Elementary
Attention span increasing.
Short stories, or he may enjoy a
continued story provided each
chapter is a complete incident.
Zolotow, The Storm Book
Aldis, Jane’s Father
MacDonald, Mrs. Piggle Wiggle
Newell, The Little Old Woman
Who Used Her Head
Seeks approval of adults.
Teacher’s role is to make books
important and reading enjoyable.
Children need much praise.
Sauer, Mike’s House
Duvoisin, Petunia
10 - Meeting Books and Children
CHARACTERISTICS
Continues to seek independence
from adults.
Continues to need warmth and
security in adult relationships.
Continued interest in the world
around him— eager and curious.
Fairness, rules are very important
to him.
Humor is developing, enjoys in
congruous situations.
Permanent teeth appear.
Is expected to achieve the devel-
opmental task of learning to read.
Middle Elementary
Attention span longer. Eyes ready
for close work without strain.
Attaining independence in read-
ing skills.
Wide variation in ability and in-
terest. Differences in interests of
boys and girls are now evident.
Peer group acceptance becomes
increasingly important.
IMPLICATIONS
Needs opportunities to select books
of his own choice.
Books can provide examples of
good family relationships.
Needs wide variety of books.
Equal opportunities to read and
share books should be provided.
Encourage appreciation of humor
in literature. Reading aloud for
pure fun has its place in the class-
room.
Books can help the child accept
physical changes.
Opportunities to use many simple
books other than the basic reader
should be planned. He may enjoy
books about reading.
Enjoys hearing teacher read con-
tinued stories. Prefers an unin-
terrupted block of time for read
ing by end of age period.
Discovers reading as an enjoyable
activity or hobby.
Many books are needed to meet
varied interests and abilities. Self-
selection of reading material be-
comes increasingly important.
Children need opportunities to
recommend and discuss books.
Book choices may be influenced
by leaders in the peer group.
Reading certain books may pro-
vide status.
EXAMPLES
deRegniers, A Little House of
Your Own
Felt, Rosa-T oo-Little
Flack, The New Pet
Shane, The New Baby
Zolotow, Big Brother
Zion, The Plant Sitter
Miner, The True Book of Police-
men and Firemen
Conklin, 1 Like Caterpillars
Aldis, All Together
Zolotow, Do You Know What Til
Do?
Joslin, What Do You Say, Dear?
Weisgard, The Clean Pig
Krasilovsky, The Man Who
Didn’t Wash His Dishes
Kahl, The Duchess Bakes A Cake
Rey, Curious George Gets A
Medal
McCloskey, One Morning In
Maine
I Can Read Series
Beginning to Read Series
Daugherty. Andy and the Lion
SFF SUGGESTED LIST OF BOOKS
FOR READING AI OUD, I»\GF 383
Growth Patterns and Book Selection - 11
CHARACTERISTICS
Interest in collections is high.
Improved coordination makes pro-
ficiency in games possible. Success
in sports becomes a developmental
task of this age.
Expanding interest in others, less
egocentric.
Seeks specific information to an-
swer his questions.
Is more able to cooperate and
work in groups.
Enjoys slapstick humor and hu-
mor in everyday situations. Be-
ginning to appreciate imaginary
adventure.
Later Elementary
Rate of physical development var-
ies widely. Rapid growth precedes
beginning of puberty. Girls about
two years ahead of boys in
development.
Understanding and accepting the
sex role is a developmental task
of this period.
Sustained, intense interest in spe-
cific activities.
IMPLICATIONS
Quantity of books read becomes
important. Enjoys series books.
Seeks identification and hobby
books.
Interest in sports books.
Interest in biographies, life in the
past, people of other lands.
Needs guidance in locating in-
formation.
Books may be interpreted through
group projects. Murals, group dis-
cussions, puppetry, dramatization
provide for development of skills
in working with groups.
Provide for oral reading of fav-
orite incidents.
Continued differentiation in read-
ing preferences. Guide under-
standing of growth process and
help children meet personal prob-
lems.
Books may provide impetus for
discussion and identification with
others meeting this task.
Reads with complete absorption.
Children spend more time in
reading at this age than any
other. Tends to select books re-
lated to one topic, for example,
horses, mysteries, adventure.
EXAMPLES
Brooks, The Freddy Series
Lovelace, Betsy Tacy Series
Haywood, Little Eddie Books
Cormack, The First Book of
Stones
Kettelkamp, Kites
Renick, Nicky’s Football Team
LeGrand, How Baseball Began in
Brooklyn
Childhood of Famous Americans
Series
Bulla, Squanto, Friend of the
White Man
Mirsky, Thirty -one Brothers and
Sisters
Fritz, The Cabin Faced West
Zim, Golden Hamsters
McClung, Sphinx
Earle, Crickets
Cleary, Henry Huggins
Atwater, Mr. Popper’s Penguins
Lawson, Mr. Twigg’s Mistake
MacGregor, Miss Pickerell
Travers, Mary Poppins
Sperry, Call It Courage
Sawder, Maggie Rose , Her
Birthday Christmas
Garfield, Follow My Leader
Sorensen, Miracles on Maple Hill
Brink, Caddie Woodlawn
Steele, The Lone Hunt
Edmonds, Two Log Crossing
Farley, Black Stallion Series
Henry, Misty of Chincoteague
Meader, River of the Wolves
Cameron, The Terrible
Churnadryne
12 - Meeting Books and Children
CHARACTERISTICS
Increased understanding of reality
makes possible projection into the
world of fantasy.
Increased emphasis upon peer
group and sense of belonging.
Deliberate exclusion of others.
Expressions of prejudice.
Awareness of self and interest in
feelings of self and others. Search
for values. Interest in problems of
the world.
IMPLICATIONS
Needs to be introduced to imag-
inative literature.
Emphasize unique contributions
of all. In a healthy classroom
atmosphere, bibliotherapy can aid
individual and group adjustment.
Help children relate reading to
current events. Provide opportu-
nities for discussion of books and
their significance.
EXAMPLES
DuBois, Twenty-One Balloons
Boston, The Treasure of Green
Knowe
Heinlein, Tunnel in the Sky
Estes, The Hundred Dresses
Woolley, Ginnie and the New Girl
Sterling, Mary Jane
Hayes, Skid
Beim, Trouble After School
Friedman, Carol from the Country
Buck, The Big Wave
Dejong, The House of Sixty
Fathers
Gunther, Meet South Africa
Nine-year-olds seek specific information to answer their questions. Photographed by
R. E. Peterson.
Growth Patterns and Book Selection - 18
Guides for Studying Children
The teacher or librarian may be very familiar
with general characteristics and interest pat-
terns of children at various age levels; she
may understand the basic principles of learn-
ing. Such knowledge is of value only as it is
applied to guiding each child as a unique in-
dividual. It is important to know that most
eight-year-olds enjoy folk tales and that many
sixth-graders are interested in career books.
However, the teacher will find wide varia-
tions from the norms established for particu-
lar age groups. Only after studying each child
can the teacher say, “David will like this
book. Philip will be challenged by this one.
Just now, Beth will enjoy this fantasy.” Sev-
eral techniques may be used to collect evi-
dence of the child’s interests and needs. These
records may be shared with the elementary
school librarian who is in a unique position
to study the child over a period of years. The
librarian can share invaluable information
about children with the teacher.
Understanding of the child and the ac-
cumulated effect of past experiences is gained
through observing him in many situations.
The teacher or librarian observes the child as
he studies or reads alone, as he reacts to others
in work and play situations, and as he meets
problems. The teacher will note what he does
not do or say as well as his active behavior
responses. The teacher seeks to understand
the child’s perception of himself, for this
self-concept influences his behavior, his
choices, his achievement.
Observation provides many clues regarding
the reading interests and habits of children.
Watching the child as he selects a book will
help determine his interests in books. Does
he go directly to a specific book section? Does
he know where he will find science books,
poetry, biography, or fiction? Does he look
at the chapter headings or illustrations be-
fore he selects a book? Does he ask for help
in locating books? Does he seem to follow
the leadership of one or two other children,
selecting in accord with their choice? Is he
really browsing and getting to know books,
or is he engaged in aimless wandering? Does
he select books which are too difficult to read
because he seeks status through reading “hard
books”?
Observing the child during the classroom
library period reveals other helpful informa-
tion. Does he begin quickly? Can you sense
his appreciation of the illustrations? Does the
position of his body reflect relaxation and in-
terest in the book? If a child becomes ab-
sorbed in the book, he is not easily distracted
by movements or sounds in the classroom.
The teacher may find it helpful to record
these brief observations for a part of the con-
tinuous anecdotal record of the child’s be-
havior patterns. If such a brief observation
is made of two or three children during each
library period, a systematic observation rec-
ord can be maintained.
Several plans have been devised to keep
records of children’s reading. For example,
slips of paper with the book title or a num-
ber assigned according to the teacher’s list
may be placed in the book pocket or fastened
with a rubber band around the back cover.
As the first- or second-grader looks at the
book or reads it, he removes a slip and places
it in his own pocket on a reading chart. Sim-
ilarly, the younger child may write his name
on a slip of paper and place it in a pocket
or envelope in the book when he finishes.
Another method involves attaching a large
card to the back of the book. When the child
completes the story, he writes his name on
the card.
A plan for individual reading records can
be arranged so that competition among in-
dividuals is reduced. A gaily painted or cov-
ered box can hold a file folder for each child.
As a book is read, the child may write the
title or use one of the teacher-made record
slips in his folder. Older children will write
brief comments about the book. If books are
read aloud at home, mother or father may
complete a simple record form which can be
placed in the folder. (Other suggestions for
book reports are included in Chapter
Twelve.)
Children's skills in planning may be ex-
14 - Meeting Books and Children
tended as the teacher involves the group in
planning ways to keep records of their read-
ing. The children may develop records of
home reading on which they write titles of
books read to them or books they read in-
dependently. When children are involved in
planning and recognize the purpose for such
records, they will assume more responsibility
for the process. Records should not be kept
to determine who reads the most books.
Reading records help the child answer the
following questions: What kind of books do
I enjoy? Am I reading different kinds of
books? Am I reading books which are usually
too easy, often too difficult, or usually just
right for me? Am I spending enough leisure
time in reading? Children can participate in
evaluation through use of such records.
The teacher also gains clues regarding chil-
dren's reading interests by noting books
which are brought for the sharing period.
Without teacher guidance children may
waste time in reading from a book which is
of little interest to others, or which is of dubi-
ous literary value. This problem may be han-
dled by expressing sincere acceptance of the
child's contribution and asking him to tell
one part he liked or show one or two pictures
he enjoyed. Conversation during the sharing
time also reveals family reading patterns.
In addition to expressed reading interests,
the teacher needs to determine the other in-
terests of children in her group. Among the
children in one class some interests may per-
sist. For example, nine-year-old Bruce has
been enthralled with insects, especially moths
and butterflies, since he was a toddler. Di-
ana, now ten, is engrossed in dancing. Ballet
lessons and daily practice are deeply satisfy-
ing. Although they are no longer actively
engaged in a class study of prehistoric life,
several children in the third grade have con-
tinued their excitement over dinosaurs. Cur-
rent interests are developed through family
trips, news items, visitors from other coun-
tries to the school or community, and through
television programs. Teachers should provide
books which will capitalize on children's out-
side interests and anticipate new areas of
interest.
To wisely select books for children in her
class, the teacher also uses cumulative rec-
ords. These school records should include the
child's special interests. The standardized test
data will show the present reading achieve-
ment level and the progress he has made. At
times a child may push beyond the reading
level indicated by tests when he really wants
the information in a more difficult book.
For his recreational reading he may choose
books which are somewhat below his level
of achievement on the reading tests.
Cumulative records, achievement and in-
telligence test scores, and anecdotal records
may be supplemented by other devices to
help understand the child . 17 Children’s origi-
nal stories based upon such titles as My
Happiest Day, What I Like about Week
Ends, and Favorite People I have Known
will often yield helpful clues in under-
standing the child. Sociometric techniques
such as a sociogram based upon selection of
committee members, seatmates, or friends re-
veal the child’s social relationships. Projec-
tive techniques such as The Class Play or
The Class Picnic also provide help in as-
sessing needs of children. The Ohio Recog-
nition Scale, The Ohio Social Distance
Scale, 1 * and interest inventories may be de-
signed by the teacher to facilitate her knowl-
edge and understanding of children.
Parent conferences serve to acquaint the
parent with the child’s school progress and
problems, but conferences are also essential
sources of information about the child and
his environment. Through informal discus-
sion the teacher may learn about the child's
early language development, interests, and
present reading habits. Do parents read aloud
to the child? Is there a quiet time for read-
ing? Does the child have a library card and
17 See Related Readings, p. 33.
“Who’s Who in My Group?” The Ohio Recogni-
tion Scale. Columbus, Ohio: College of Education,
The Ohio State University.
The Ohio Acceptance Scale. Columbus, Ohio: College
of Education, The Ohio State University.
Growth Patterns and Book Selection - 15
use it regularly? What are his interests and
hobbies? Do parents purchase books for his
library? Are there newspapers, magazines,
encyclopedias available at home? Has he trav-
eled, visited museums, or enjoyed concerts?
More significant than these environmental
factors, however, are the attitudes of parents
toward reading. Is reading scorned, looked
down upon, or encouraged as a worthwhile,
important phase of living? In the conference
the teacher will become aware of the parent's
expectations of the child. Parent conferences
help the teacher understand the many forces
KNOWING BOOKS
The Need for Good Book Selection
Good book selection not only requires a thor-
ough knowledge of children and their indi-
vidual needs, interests, and abilities, but it
demands an equal understanding of the field
of children’s literature. Knowing children
and knowing books are two sides of the coin
of good book selection.
Almost everyone is overwhelmed by the
number of titles published each year for chil-
dren. There are more good books for chil-
dren today than ever before; there are also
more of mediocre quality. This situation in-
creases the difficulty of book selection and at
the same time, emphasizes its need. How can
one distinguish the trees from the forest? In
this plethora of books, there is the danger of
overlooking the really great. What guides
may be used in choosing good books for chil-
dren?
Unfortunately, we cannot rely solely upon
the choices of children. They are not born
with inherent good taste in literature, any
more than with good taste in art and music
or in their choice of clothes and food. This
does not mean that they do not like good
literature; they do. But like Browning’s “My
Last Duchess” they are indiscriminate and
tend to like “what ere they look upon.” A
typical ten-year-old girl is capable of enjoying
which affect the child’s reading. All these fac-
tors influence the development of children
who can and do read.
The teacher not only understands child
development and principles of learning, she
uses many techniques in studying the indi-
viduals in her classroom. Observation is sup-
plemented by cumulative records, inven-
tories, sociometric and projective techniques.
She utilizes this information in order to pro-
vide a reading environment that meets the
wide range of differences in interests and
needs of the group.
Doris Gates’ Blue Willow and a Nancy Drew
mystery with the same relish. Children’s re-
actions to books are important, however; for
a book which is not read by children cannot
be considered good. At the same time, the
most popular children’s books are not neces-
sarily the best books, any more than the best
sellers of today represent great adult litera-
ture.
Many adults can remember a period when
they were completely engrossed in the Bobb-
sey Twins, The Hardy Boys, The Nancy
Drew Mysteries, or the Sue Barton stories.
These books did not harm the readers who
went on to read other well-written literature.
Why, then, should there be concern about
children’s choices today? There is concern for
two reasons. First, the increased number of
books today makes it possible for a child to
have a steady diet of mediocre books — he
may not progress to literature of higher qual-
ity. Secondly, the time in childhood is lim-
ited; most children’s books have to be read at
the appropriate age and stage in the develop-
ment of a child’s life or they will never be
read . The eight-year-old does not read Peter
Rabbit, the twelve-year-old may think Twig
by Elizabeth Orton Jones is “babyish,” and
the high school student has outgrown Law-
son’s Rabbit Hill . Introduced at the right
time, these books would not only have been
16 - Meeting Books and Children
favorites, but would have provided rich
experiences in children’s literature. In 1946
Dorothy Neal White made the following ob-
servation concerning children’s reading:
Children read comparatively few books. It has
been pointed out that if one estimates one book
a fortnight from seven to fourteen years . . . ,
the number read during the period is 416. These
four hundred books often influence a child far
more powerfully than parents realize, and the at-
titudes and conduct of the author's heroes may be
temporarily adopted by the reader. A steady diet
of second-rate reading can be as deleterious to the
mind as poor food is to the body. There is more
than one form of malnutrition. 19
Since this time television and extracurricu-
lar activities have made large inroads into
the amount of time which children spend in
reading. It becomes even more imperative
that children have books which are both well-
written and well-liked.
Criteria for Book Selection
The skilled author does not write differently
for children than he does for adults. Just as a
pediatrician must know the essentials of med-
icine and then apply this knowledge to his
child patients, so the author of children’s lit-
erature must know the essentials of fine writ-
ing and apply this knowledge to children’s
books. The surgeon and the pediatrician are
equally honored. Authors of children’s litera-
ture and those who write for adults must re-
ceive equal approbation. It is not easy to
differentiate between some children’s authors
and adult authors. A. A. Milne wrote both
for adults and children, but it is for his chil-
dren’s work that he will be remembered. C. S.
Lewis, Dorothy Aldis, Elizabeth Yates, Pearl
S. Buck, Dorothy Canfield Fisher and many
others are well-known for both their chil-
dren’s books and their adult books. Similarly
many adult books, such as My Friend Flicka,
The Yearling, and Treasure Island, have
been adopted by children as their own. With
few exceptions the criteria for evaluating
children’s books are essentially the same as
those for judging books for adults.
“Dorothy Neal White, About Books for Children.
London: Oxford University Press, 1946. p. 11.
Plot Of prime importance in any work of
fiction 20 is the plot. Children ask first, “Does
the book tell a good story?” The plot is the
plan of the story; it tells what the characters
do and what happens to them. In a well-con-
structed plot, the sequence of events is the
logical and natural development of the ac-
tions and decisions of the characters in given
situations. There is a minimum of coinci-
dence and contrivance. The plot should be
credible, one that rings true. In literature
written for children the story should develop
through action and incident, rather than
through detailed descriptions or character
introspection. Youngsters crave action and
suspense in their stories. They want “happen-
ings.” As long as these events are plausible
and credible, they provide stimulation and
adventure. When the action goes beyond the
capacity of the characters as portrayed by the
author, it may become sensational. Some
stories are read only for their plot. However,
if suspense or incident is all the story has to
offer, children will not re-read it for they al-
ready know the plot. They may read another
similar book, or the next one in the series.
This partially explains the popularity of the
series books. What child ever re-read one of
the books about the Bobbsey Twins? Instead,
he read another book in the series. If a book
does not have a good plot, it will not hold
children’s interest long. But well-loved books
contain indefinable qualities and are memor-
able for more than plot alone.
Quality of Content Aside from the plot, we
need to examine the quality of the conte?it of
the book. The story must be one which is
worth telling. One of the differences between
literature for children and for adults is in the
choice of subject-matter. Is the story appro-
priate to the experience and background of
the children for whom it was intended? The
psychological and sociological probings, the
sexual escapades, and political intrigues of
20 Specialized criteria for picture books, informa-
tional books and biographies will be given in the
succeeding chapters which discuss these various cate-
gories of children's literature.
Growth Patterns and Book Selection - 17
the modern adult novel are inappropriate
fare for children. Children’s mysteries may
have suspense and intrigue, but they seldom
involve a murder. Good children's biogra-
phies (see Chapter Six) will present both the
strengths and weaknesses of their subjects,
but will eliminate the sordid. The question
of how much stark realism should be in-
cluded in juvenile literature is debatable.
There is no reason to overprotect or coddle
the child's mind. However, there is no reason
to shock it or deliberately frighten it until
such time as the child may have developed
the maturity and inner strength to face the
tragedies of life, even vicariously. This is a
matter of age and experience, and points up
the importance of a teacher knowing chil-
dren. In some instances books may be the
very instruments by which children first learn
to meet the hardships of life. Probably few
American children will ever know the terror,
pain, and hunger suffered by Tien Pao in
The House of Sixty Fathers by Dejong. They
may never know the personal horrors of war
which he faced alone. This book, with its
starkly vivid writing, contains a message
which shakes at the very roots of survival in
the twentieth century. It is not a book which
all children are fortified to withstand, how-
ever.
Theme The third point for the evaluation
of any story is its overarching theme. The
theme of a book reveals the author’s purpose
in writing the story. Constituting the main
idea, it indicates the meaning behind the
story. The theme of a book might be the love
of animals, the acceptance of self or others,
achievement through difficulty, the conquer-
ing of fear, or the horror of war. The theme
should be worth imparting to young people
and be based upon justice and integrity.
Sound moral and ethical principles should
prevail. Paul Hazard, writing in Books Chil-
dren and Men, made the following comments
concerning the kind of children's books
which he felt were good:
. . . and books that awaken in them not maud-
lin sentimentality, but sensibility; that enable
them to share in great human emotions; that give
them respect for universal life — that of animals, of
plants; that teach them not to despise everything
that is mysterious in creation and in man ....
I like books that set in action truths worthy of
lasting forever, and inspiring one's whole inner
life
In short, I like books that have the integrity to
perpetuate their own faith in truth and jus-
tice . . .
The theme or purpose of the book should not
obscure the story. It should be interwoven
into the structure of the book naturally
through the events in the story and the de-
velopment of the characters. Children do not
need to be told that Mafatu is brave in
Sperry’s Call It Courage; he shows bravery
by his actions. Many authors write primarily
for a cause rather than for children’s enjoy-
ment. As a result, there are dull books over-
burdened with the world’s problems and
concerns. Books should give children “truths
worthy of lasting forever,” but such truth
should be derived from the total impact of
the story and should not be singled out in iso-
lated incidents. There is a difference between
books which are moral and those which are
moralistic. Children have always rejected the
didactic, preachy book.
Characterization True characterization is
another hallmark of good writing. The peo-
ple or animals portrayed in children’s books
should be convincingly real and lifelike. An
author will attempt to create personalities
(or “animalities” in the case of personified
animals) that live for the reader. Their cred-
ibility will depend upon the author’s ability
to show their true natures, their strengths
and their weaknesses. If only one side of a
character is presented, or one trait over-
emphasized, the result is apt to be stereo-
typed and wooden. Too frequently, charac-
ters in children’s books appear to be fashioned
from standardized patterns. Like television’s
soap operas and westerns, the good are so un-
believably good and the bad so thoroughly
bad that there is no mistaking their roles.
n Paul Hazard, Books Children and Men. Boston:
The Horn Book Company, 1944. pp. 42-44.
18 - Meeting Books and Children
These stories have plot, but their charac-
terizations are not true to life.
In addition to realism in characterization,
there should be consistency in its portrayal.
This consistency should not conform to a
pattern but to the true nature of the charac-
ter as the author has presented him. The
characters should be depicted so that every-
thing they do, think, and say will seem nat-
ural and inevitable. They should act and
speak in accordance with their age, culture,
and educational background. This allows
authors the freedom to use some slang and
even poor grammar when the authentic
speech of a person or region is necessary for
true character portrayal. Smoky by Will
James and Strawberry Girl by Lois Lenski
are two examples of books in which their
authors have made judicious use of slang
and colloquialisms. One would hardly ex-
pect a cowboy or a Florida “Cracker” to
speak perfect English. Grammatically correct
speech would be inconsistent with their back-
grounds.
Another aspect of sound characterization
is growth and development. Do the charac-
ters change in the course of the story, or do
they remain the undaunted and self-sufficient
personalities that they were in the beginning
of the tale? Not all characters will change, of
course, but many are memorable for their
personality development. It is easy for a ten-
year-old girl to identify with the tomboy,
Caddie Woodlawn, in her struggle against
the inevitable demands of “becoming a
lady.” Headstrong, self-centered, Jo of Little
Women faced similar demands with a certain
amount of bitterness and rebellion. The
eventual triumph of her good humor and
warm heart has endeared her to countless
readers. Sharp in her book, Nkwala, has
told a moving story of an Indian boy's growth
towards manhood. Marguerite de Angeli has
presented a vivid character study of Robin in
her outstanding book, Door in the Wall .
Robin, crippled son of a great lord, must
learn to accept his infirmity and find his use-
ful place in life. The development of his
character is made clear as he solves these
problems. In all these books and many more,
the characters seem real and alive. To be
truly human they must grow and change
before the reader’s eyes. In keeping with life
itself, that change is usually gradual and con-
vincing, rather than mercurial and unreal-
istic.
Long after we have forgotten their stories,
we can recall some of the personalities of
Growth Patterns and Book Selection - 19
children’s literature. We recognize them as
they turn the corner of our memories and
we are glad for their friendship. The line is
long; it includes animals and people. It is
hard to tell where it begins, and we are happy
there is no end. We can distinguish Toad in
a new motor car with his loyal friends, Mole
and Ratty; there’s mischievous Kate and
Jancsi on their horses; Mary Poppins flies by
holding tightly to her large black umbrella
with one hand and carrying her carpet bag
in the other; Georgie hops by looking for
“New Folks coming’’; Janey Larkin walks se-
dately down the road holding her cherished
Blue Willow plate; Beth, Jo, Amy, and Meg
are there; and Mary, Colin, and Dickon are
in their Secret Garden. If one looks closely
he can see tiny Arietty, Pod, and Homily out
for a Borrowers holiday; Stuart Little pad-
dles his souvenir canoe along the drainage
ditch, and a sea gull flies by carrying Peter
Peabody Pepperell III on his back. School
appears to be out, for here comes Henry
Huggins and Ribsy followed by Beezus and
Ramona; Homer Price walks by with his pet
skunk; Nate Twitchell is walking Uncle
Beezly, his Triceratops dinosaur; Lucinda
rolls by on her roller skates, and Mrs. Piggle
Wiggle rounds the corner with the entire sec-
ond grade at her heels, heading for her up-
side-down house with buried treasure in the
backyard. There are many more in this pro-
cession of real persons in children’s litera-
ture. We know them well because their au-
thors created them and blew the breath of
life into each one of them. These characters
came alive on the pages of their books and
they live forever in our memories.
Style The style of a book refers to the way
the author has written it. Each author’s style
is individual and unique. Good writing style
is appropriate to the plot, subject, theme and
characters of the story. The tastes of children
place some demands upon the style of their
books. Children tend to want action in their
stories and prefer a style which has move-
20 - Meeting Books and Children
ment rather than description or contempla-
tion. This does not mean that description is
eliminated from children's books but sug-
gests an economy of detail. Usually, children
do not like a story told in the first person.
This may be an unconscious rejection of too
much introspection and description. Because
time concepts are difficult for children to
grasp, authors of juvenile literature avoid
telescoping action or using flashbacks. The
complexity of the plot varies with the age
level of the child. Children prefer a style of
clarity and simplicity. They are quick to
recognize any condescension on the part of
the author and reject those books which ap-
Unity of format and content are illustrated by this
title page, which suggests the illuminated manu-
scripts of the medieval setting of the book. From The
Door In the Wall written and illustrated by Mar-
guerite de Angeli. Doubleday, 1947.
BY MARGUERITE DE ANGELI
pear to “talk down” to them. Adults respond
to the cute, the clever, the slyly written and
sarcastic; children do not. Finally, children
(and some adults) demand conversation in
their stories. They want the conversations to
be natural and not stilted. They feel as Alice
did when she looked into her sister's book
and said, “What’s the use of a book without
pictures or conversation?” Her disgust led her
to follow the white rabbit down his hole.
Many children’s books contain excellent
prose. For sheer richness of language read
McCloskey’s Time of Wonder or Grahame’s
classic, Wind in the Willows. A. A. Milne in
Winnie the Pooh, and E. B. White in Char-
lotte's Web are master craftsmen in the art
of writing dialogue. Johnny Tremain by
Forbes and The House of Sixty Fathers by
Dejong have well-constructed plots, suspense,
quick climaxes and satisfying endings. Ex-
cellence in writing can be recognized as eas-
ily in children’s books as in those of adults.
Format The format of a book may be an
important factor in a child’s decision to read
it. Books today are more attractive than ever
before. A new point of view in art and tech-
nical progress in printing and picture repro-
duction have been combined to produce some
startling results in book illustrating. Not only
do we have beautiful picture books 22 for
young children, but books for older boys and
girls are becoming increasingly well-designed
and attractive. While pictures are not essen-
tial in books for older children, they may en-
rich the interpretation of the story and
should be carefully planned and integrated
with the text. Garth Williams has captured
real, human expressions on the faces of Wil-
bur, a pig, and Templeton, a rat, in E. B.
White's wonderful American fantasy, Char-
lotte's Web. The rough line drawings of the
individual animals and the barnyard scenes
perfectly complement the humor, pathos, and
homespun philosophy of the text. Beth and
Joe Krush have made the miniature world of
“Chapter III presents special criteria for evalu-
ating picture books and discusses outstanding ex-
amples.
The Borrowers and The Borrowers Afield
seem quite believable with their captivating
illustrations. The black and white sketches
are detailed and intricate. Frequently, Pod,
Homily, and Arietty are almost camouflaged
by leaves, curtains, or bric-a-brac. The artists
have skillfully portrayed some of the perils
and delights of being six inches high in our
“normal” sized world. Mary Norton has writ-
ten a charming, humorous fantasy; the illus-
trations have given it an added dimension of
enchantment. The total format of Marguerite
de Angeli’s Door in the Wall complements
the medieval background of this beautifully
written piece of historical fiction. Her many
black and white pictures realistically portray
the castle, churches, and people of that pe-
riod. Three illustrations are as rich in color
and detail as an original illuminated manu-
script. The design ol the title and dedication
pages remind the reader that fine books can
be works of artistic as well as literary merit.
There are factors other than illustrations
which need to be considered in the total for-
mat of the book. Typography is very impor-
tant. The type should be large enough for
easy reading by the age level for which it was
intended. At the same time, if the type is too
large children will consider the book, “baby-
ish.” The space between the lines (leading)
should be sufficient to make the text clear.
The margins should be simple, usually larger
at the bottom than the top. The quality of
the paper must be considered. A cream tinted
dull-finished paper is most desirable. It
should be thick enough to prevent any pen-
etration of ink. The binding should be dur-
able and practical, one which can withstand
the use of many interested, but frequently
grimy, hands. For library and classroom use
books which are bound in cloth, side sewn,
with soil-resistant washable covers are rec-
ommended. A book should never be selected
on the basis of format alone without an ac-
companying evaluation of its content. No
book is better than its text.
Additional considerations for book selection
When teachers, librarians, and parents are
Growth Patterns and Book Selection - 21
in the process of evaluating and selecting
books, they will want to focus their attention
upon additional considerations. They should
compare the new book with other books writ-
ten by the same author. Too frequently,
books are ordered upon the basis of the au-
thor’s past reputation, rather than for their
inherent worth. Past performance is no guar-
antee of continued excellence. The book
should be compared with other books on the
same subject. Is this just another horse story
or does it make a distinctive contribution?
Many modern informational and biograph-
ical series are written by different authors.
The quality of the book will vary with the
ability of the writer despite similarity in ap-
proach and format. Rather than condemning
or approving an entire series each book
should be evaluated on its own merits. Fi-
nally, teachers and librarians will have to es-
timate the appeal of this particular book.
Will it be enjoyed by many children, or does
it have a more limited appeal? All libraries
should include some books which will have
only special attraction for certain children.
However, consideration will have to be given
to the place of each book within the total
collection.
In summary, the basic considerations for
the evaluation of fiction for children are a
well-constructed plot, worthwhile content, a
significant theme, convincing characteriza-
tions, appropriate style, and attractive for-
mat. The following list of questions will help
the reader evaluate a book more objectively.
Not all the questions will be appropriate for
all books. Few books will meet all these cri-
teria. The elusive factor of personal prefer-
ence of both adults and children should be
respected.
CRITERIA FOR EVALUATING CHILDREN’S
FICTION
Plot
• Does the book tell a good story?
• Does the plot have action and suspense?
• Is it plausible and credible?
• Is the plot well-constructed?
22 - Meeting Books and Children
Content
• Is the story worth telling?
• Is its content appropriate for children?
• How might the content fit into the
curriculum?
• Do truth and justice prevail in the end?
Theme
• What is the theme?
• Is the theme worth imparting to young
people?
• Is it a natural part of the story?
• Does it avoid moralizing?
• What developmental values are
illustrated?
Characterization
• Are the characters convincing and
credible?
• Do we see their strengths and weaknesses?
• Does the author avoid stereotyping?
• Is there any character development or
growth?
Style
• Is the style appropriate to the subject of
the book?
• Does it present the story with clarity and
simplicity?
• Is the dialogue natural and suited to the
characters?
• Is there richness of expression?
• Is the book well-written?
Format
• Is the appearance of the book attractive?
• Do the illustrations enhance the story?
• Is the print clear and appropriate to the
age level?
• Is the paper of good quality?
• Does the book have a durable binding?
Other Considerations
• How does this book compare with other
books on the same subject?
• How does it compare with other books
written by the same author?
• How does it compare with other books
in the same series?
• For what level of maturity is it designed?
• Does it have a wide range of appeal or
will only a few children be interested
in it?
• How does this book fit into your total
collection of books? Does it fulfill a
special need?
The Classics in Children's Literature
Since children’s reading is necessarily con-
fined by the limits of childhood, should not
all children be exposed to the so-called “clas-
sics” of children’s literature? Many of the
trials and tribulations of book selection would
be eliminated if there were a list of “Great
Books for Children” which had endured from
one generation to another. Alice Jordan, in
a reprint of an article written for The Horn
Book , 23 states: “Until a book has weathered
at least one generation and is accepted in the
next, it can hardly be given the rank of a
classic . . Many books and poems have
achieved an honored position among the best
of children’s literature through a combina-
tion of adult adoration, parent perpetuation,
and teacher requirements. Most adults re-
member with nostalgia the books they read
as children. They tend to think that what
they read was best, and ignore the possibility
of the production of any better books. It is
easy to forget that every “classic” was once a
new book; that some of today’s new books
will be the classics of tomorrow. Times have
changed, but adults seem unaware of the
change in children's reading interests. Teach-
ers and librarians should begin with the mod-
ern child and his interests, not his parents’
interests when they were children. Today's
space-minded child may actually travel to
the moon. He lives in a fast-moving world
where fantastic discoveries are commonplace.
He is to be forgiven if he finds Rip Van
Winkle and The Legend of Sleepy Hollow
slightly less than intriguing.
28 Alice M. Jordan, Children's Classics. Boston: The
Horn Book Company, 1947. p. 4.
Growth Patterns and Book Selection - 23
Certain books became classics when there
were very few books from which children
could choose. In fact, many classics were
not children’s books at all, but were written
for adults. In their desire to read, children
claimed these adult books, struggled through
the difficult parts, and disregarded that which
they did not understand. They had no other
choice. Today’s child is not so persevering be-
cause he sees no reason for it. The beginning
of Robinson Crusoe presents difficult vocab-
ulary and sentence structure. In fact, the in-
troductory sentence runs the length of the
entire first page. Defoe wrote this story in
1719 for adult readers, but children quickly
discovered its excitement and plunged into
it. Children still enjoy this wonderful story
of shipwreck and adventure. However, they
enjoy it more if it is read to them. For inde-
pendent reading, they can find the same
tingling excitement and more readable prose
in Sperry’s Call It Courage or Steele’s Winter
Danger.
The classics should not be freed from eval-
uation by virtue of their past veneration.
They should be able to compete favorably
with modern day books. Children are not im-
pressed with vintage or lineage. They seldom
read a book because they think they should.
Few children would join a “Great Books’’
club unless the books really interested them.
They read more for enjoyment than edifica-
tion. Some books have been kept alive from
one generation to the next by their common
consent; these are the true classics of chil-
dren’s literature. No teacher or parent has
to cajole a child into reading them. They are
books which can hold their own amidst the
ever increasing number of new and beautiful
books of today.
What is the continuing hold of these well-
loved books of the contemporary child? First
and foremost, they are magnificent stories.
There is adventure and suspense in T reasure
Island, Robinson Crusoe, Swiss Family Rob-
inson, Tom Sawyer, and Huckleberry Finn .
There is mystery and excitement in Hans
Brinker or the Silver Skates and The Secret
Garden. The characterization in most of the
classics is outstanding. There is very little
plot in the story of Little Women, but what
reader can forget the March sisters? They
could have been your next-door neighbors;
they seem so real. This is also true of Tom
and Aunt Polly and Huck. The animal per-
sonalities of Christopher Robin’s stuffed toys
are unmistakable. Even adults have known a
Bear of Little Brain and a Gloomy Eeyore!
The appeal of many of the classics is based
upon the type of story which they represent.
Family chronicles such as Little Women and
Heidi give the reader a feeling of warmth
and security. A feeling of place and atmos-
phere is also developed in these well-loved
stories. Animal stories are represented by
Black Beauty, The Jungle Book, and Bambi .
Black Beauty is a sentimental story filled with
short esasys on the prevention of cruelty to
animals. The theme was timely in 1877 when
Anna Sewell wrote this story. However, the
genuine emotion in Black Beauty appears to
be timeless, for it remains a favorite despite
its Victorian airs. Boys and girls still love
the beautifully written story of Mowgli who
was adopted by the wolf pack when he was
a baby and taught the law of the jungle by
Bagheera, the panther, and Baloo, the bear.
Other favorites in Kipling’s Jungle Book in-
clude “Rikki-Tikki-Tavi”, the story of a
mongoose, and “Toomai of the Elephants.”
Most children respond favorably to Felix
Salten’s sensitively written, if somewhat sen-
timental, life story of Bambi, a deer of the
Danube forest.
Many classics are fantasies. Children’s re-
actions to fantasy are frequently controver-
sial; they seem to thoroughly enjoy or com-
pletely reject them. These reactions may be
equally characteristic of adult readers. For
some people, Alice in Wonderland, Peter
Pan, Wind in the Willows and Winnie the
Pooh have never been surpassed in the field
of children’s literature. Others actively dis-
like them. Many readers do not “discover”
these books until they are adults, and then
they applaud them as excellent fare for chil-
Shepard’s pen-and-ink drawings capture the joy and
companionship of Mole and Ratty on a picnic by
their beloved river. From Wind in the Willows by
Kenneth Grahame. Illustrated by E. H. Shepard.
Scribner, 1933, 1953.
drenl True classics appeal to both children
and adults. As one father reported: “I’ve
learned one important thing in three years.
It’s possible to read to a young child with-
out boring either child or parent. I think
parent’s boredom is just as important as the
child’s.” 24
Some cautions need to be observed to de-
velop children’s understanding and apprecia-
tion for the classics. It should be remembered
that the so-called classics are not fare for all
children and frequently appeal to the ex-
ceptional child. Many classics are more thor-
oughly appreciated if they are read aloud
and shared with an adult rather than read
by the child alone. It is important that tim-
ing be considered if children are to enjoy
“Edward Eager, “A Father’s Minority Report” re-
printed in A Horn Book Sampler. Boston: The Horn
Book Company, 1959. p. 166.
24
these books. Frequently the classics are in-
troduced before children are ready for them;
the eight-year-old is not ready for Treasure
Island by Stevenson. There is a readiness in
appreciation which needs to be developed,
too. Before reading Wind in the Willows, in-
troduce children to Lawson's Rabbit Hill.
Modern boys need to meet Cleary’s Henry
Huggins , Butterworth’s Nate Twitchell, and
McCloskey’s Homer Price before they are
ready for T om Sawyer. Young readers should
be introduced to Mary Poppins by Travers,
The Borrowers by Norton, and Charlotte's
Web by White before meeting the complex
Alice in Wonderland. Re-read the “wonder-
ful books we read as children” to see if they
really were that wonderful! Many disillusion-
ments may follow, but children may be re-
lieved from boring hours of reading or listen-
ing. Finally, the practice of compelling them
to read certain books should be questioned.
The prime purpose of children’s literature
is recreation. This purpose is not served by
forced feeding. Boys and girls should enjoy
reading; they should be exposed to fine writ-
ing and illustrating during these formative
years. These qualities may be found in both
the “old books” and the new. Today there
are some 12,500 juvenile books in print; we
have no right to confine children's reading
to a list of so-called classics.
Children’s Book Awards
Guides for book selection are needed to find
the best among the multitude of books.
Teachers and librarians will find it helpful to
be familiar with books which have won
awards. 25 These awards have been estab-
lished for various purposes and provide cri-
teria for what experts consider to be the
best in children's literature. Such awards
have helped to counteract the judgment of
the market place by focusing attention upon
beautiful and worthwhile books. In the age
of mass production they have stimulated art-
ists, authors, and publishers to produce books
26 A list of the various children’s book awards,
criteria, conditions, and winners is given in Appendix
A.
Growth Patterns and Book Selection - 25
of distinction. They have helped children’s
literature achieve a worthy status of its own.
Occasionally, one hears the criticism that
the award books are not popular with chil-
dren. This is true of some of the award books.
However, the awards (with one or two re-
cent exceptions which are determined by
children’s votes) have not been based upon
popularity but upon recognized excellence.
Their purpose is to honor fine writing and
illustrating for boys and girls. They were
never intended to rubber stamp the tastes
of children, but to raise them. That this is
a legitimate and worthwhile function of the
awards is emphasized by Julia Sauer writing
in The Horn Book magazine:
Lately there has been much emphasis on chil-
dren’s reaction to children’s books. Awards are
being made on the basis of a book's popularity
with children. Obviously, it would be absurd to
say that any children’s book is a good children’s
book if no child reads it. But it is equally absurd
to say that the best children's books are necessarily
those which are most popular with the children. A
child’s enthusiasm for a particular title does not
give it literary distinction. If that were true we
might as well make our awards to the comics and
call it a day. 26
Children’s reactions to books are significant,
but it is important to remember that they
are not the final test of distinction. Likewise,
adult praise of a book is no assurance of chil-
dren’s praise.
NEWBERY AND CALDECOTT AWARDS
The two most coveted awards in children’s
literature are the Newbery and Caldecott
Awards, determined every year by a com-
mittee of twenty-two members of the Amer-
ican Library Association. A candidate for
either of the awards must be a citizen or
resident of the United States. The book must
have been first published in the United
States.
The Newbery Award is the oldest award
for children’s books having been established
in 1922. It is named for John Newbery, a
** Julia Sauer, “So Close to the Gulls,” The Horn
Book 25: 359-400, September, 1949.
British publisher and bookseller of the eight-
eenth century. Appropriately called the
“father of children’s literature,” he was the
first to conceive of the idea of publishing
books expressly for children. The Newbery
Medal is awarded to the author of the most
distinguished contribution to American lit-
erature for children published the preceding
year.
The Caldecott Medal is named in honor
of the great English illustrator of the nine-
teenth century, Randolph Caldecott. Calde-
cott was well known for his gay picture books
depicting the country life of England. The
Caldecott Medal was established in 1938 and
is awarded to the most distinguished Amer-
ican picture book for children chosen from
those first published in the United States
during the previous year. The text should
be worthy of the illustrations but the award
is made primarily for the art work.
The donor of both medals is Frederick G.
Melcher, co-founder of Children’s Book Week
with Franklin K. Mathiews, and editor of
Publishers ’ Weekly. It was Mr. Melcher who
originated the idea for these children’s book
awards, suggested the appropriate titles, and
sponsored them.
Students of children’s literature would do
well to acquaint themselves with the winning
books and their authors and illustrators. It
is interesting to review the runners-up 27 for
these awards. As you compare the winners
with the runners-up, would you have made
the same selection as the committee? In 1939,
the Newbery Award was made to Thimble
Summer , a story which has limited appeal
for girls only. However, a runner-up for that
year was the still popular and dearly loved
Mr. Popper’s Penguins . Likewise, the highly
praised Charlotte’s Web was a runner-up in
1953 to the winner, The Secret of the Andes,
a beautifully written and sensitive story
which, unfortunately, is not popular. It is
interesting to see the number of times a par-
ticular author has been nominated and still
has failed to win. Books by Laura Ingalls
27 A list of the runners-up for both the Newbery
and Caldecott Medals is included in Appendix A.
26 - Meeting Books and Children
Wilder were runners-up for five different
years, but never received the award. Final
restitution has been made, perhaps, by the
establishment of the Laura Ingalls Wilder
Award which serves a different purpose.
Since the selection for the Newbery Award
must be limited to books published that year,
the quality of the Award books varies, for
certain years produce a richer harvest than
others. The selection in 1936 must have been
very difficult to make. How could one choose
among Caddie Woodlawn, Honk the Moose,
and The Good Master? It must have been
equally difficult in 1957 to make a choice
among Old Yeller, The House of Sixty Fa-
thers, Mr. Justice Holmes, and Miracles on
Maple Hill. By and large, the years have
shown the choices to have been wise ones.
There is a nice balance between those books
especially enjoyed by boys and those enjoyed
by girls; many age ranges are represented.
Some of the Newbery books are difficult to
read, but so are the earlier classics. Fre-
quently these books have to be read aloud
and savored with an adult before children
develop a taste for their excellence.
There has been less controversy over the
choices for the Caldecott Award. The list
again shows variety as to type of art work,
media used, age appeal, and subject matter.
The range of art work includes the realistic
paintings of Berta and Elmer Hader in The
Big Snow, the child-like, primitive work of
Leo Politi, the bright modern design of Will
and Nicolas, the delicate pictures of Marcia
Brown’s Cinderella, and the stylized work of
Roger Duvoisin. Four of the Caldecott Medal
books are illustrated in black and white, one
in sepia, and seventeen are in two or more
colors. The most popular of these books are
Ward's The Biggest Bear and Madeline's Res-
cue by Bemelmans. McCloskey has won the
Caldecott Award twice; once for Make Way
for Ducklings and again for Time of Wonder.
Joseph Krumgold is the only author to have
won the Newbery Award twice; Robert Law-
son is the only person who has won both the
Newbery and Caldecott Award.
Recent years have brought the establish-
ment of other awards for children’s books.
Considering the tremendous growth in the
field of children’s literature since the New-
bery Award was first established in 1922, it
seems right and quite necessary to increase
the recognition of fine books. Many of the
awards serve a special function or interest
and do not duplicate the Caldecott or New-
bery Awards.
SPRING BOOK FESTIVAL AWARDS
The Spring Book Festival Awards were es-
tablished in 1937 by the New York Herald
Tribune. 2 * The purpose of these awards is
to help achieve a balance in the publishing
of new books between the fall and the spring.
Many new books were formerly published
during the fall of the year, and then there
was a dearth of new books until the next fall.
These awards carry a cash prize and are given
annually to the best books for children pub-
lished during the first half of the year. Four
Honor Books are chosen in each of three
age-levels; older boys and girls, children 8-12,
and the picture book group. Two judges are
chosen each year for each of the three age
levels.
GRAPHIC ARTS RECOGNITION
The only award which considers art work
and the total format of a book is that given
by the American Institute of Graphic Arts. 29
Each year a jury selects the Fifty Books of the
Year for excellence of design and manufac-
ture in bookmaking. Among the fifty books
chosen from the entire range of publishing
in 1959, twelve were trade books for children.
Periodically, this same Institute appoints a
jury to select up to one hundred books for a
Children’s Book Show. These are judged on
design, typography, manufacture, and con-
cept. The literary content is considered only
insofar as the design and typography convey
the spirit of the book. The selection of these
honorary books and the establishment of the
children's shows serve to emphasize the im-
portance of the total design of a book.
98 See complete list in Appendix A.
"See Appendix A for further information.
Two Caldecott winners by Robert McCloskey. From Make Way for Ducklings , Viking,
1941, and Time of W r onder, Viking, 1957, both written and illustrated by Robert McClos-
key. © 1941, 1957 Robert McCloskey.
SPECIALIZED AWARDS
Special awards are given to the best books of
a certain type of theme. In 1943 the Child
Study Association began to give an annual
honorary award for a young people's book
which deals realistically with problems in
their contemporary world. The committee
attempts to choose a book which is con-
vincing and realistic in its approach, but
avoids the preachy tone of didactic literature.
Some of the selections have been for high-
school students. However, the list of winners
includes Bishop’s Twenty and Ten, Yashi-
ma’s Crow Boy, Sorensen’s Plain Girl and De
Jong’s The House of Sixty Fathers. The Jane
Addams Children’s Book Award is presented
each year by the Women’s International
League for Peace and Freedom. The purpose
of the award is to encourage publication of
books for children which are of literary
merit and contain constructive themes which
contribute to the development of wholesome
social values. The Aurianne Award is given
annually by the Children’s Services Division
of the American Library Association for the
best children’s book which develops a hu-
mane attitude towards animal life. It can be
fiction or nonfiction. This award was first
given in 1958 to Jean and John George for
Dipper of Copper Creek.
Four awards, initiated in 1955, are pre-
sented to children’s works by the Thomas
Alva Edison Foundation, Inc. These awards
are presented annually, carry cash prizes, and
an honorary scroll. They are awarded to the
“Best Children’s Science Book,’’ “The Best
27
28 - Meeting Books and Children
Science Book for Youth,” “For Special Ex-
cellence in Portraying America's Past," and
“For Special Excellence in Contributing to
the Character Development of Children."
Two awards which have recently been es-
tablished honor an author or illustrator for
a substantial and lasting contribution to chil-
dren's literature. The Laura Ingalls Wilder
Award was established in 1954 by the Chil-
dren's Services Division of the American Li-
brary Association and was presented first to
Laura Ingalls Wilder, herself, for her “Little
House" books. This award makes no require-
ment concerning the number of books which
must be produced, but a body of work is im-
plied and the books must be published in
the United States. The award was presented
posthumously to Clara Ingram Judson in
1960. Awarded every five years it gives worthy
recognition to devoted and excellent service
to children's literature. In 1959, the Catholic
Library Association established a somewhat
similar award to be presented for a “lifetime
dedication to the highest standards of litera-
ture for children.” The Regina Medal “is not
limited to one creed, nor one country, nor to
one criterion, other than excellence.” It may
be given to writers, illustrators, editors and
others who have given unstintingly of their
creative genius to the field. Eleanor Far jeon,
an English author and poet, was the first re-
cipient of the award. In 1960 Anne Carroll
Moore received the award for her “pioneer
work for children in public libraries and her
influence upon children’s literature.”
An attempt to recognize and honor those
books which have the qualities of “modern
classics” is the purpose of the Lewis Carroll
Shelf Awards. These awards are given by the
University of Wisconsin School of Education
to those books “worthy to sit on the shelf
with Alice in Wonderland ” A University
committee selected sixteen books in 1958, the
first year of the award. Twelve titles were
chosen for the 1959 winners.
AWARDS DETERMINED BY CHILDREN
There is a growing number of book awards
which recognize children's choices as the
basis for their selection. Most of these awards
are made on a state or regional basis. The
Dorothy Canfield Fisher Award is given an-
nually to the book which is the most popular
with boys and girls in grades four through
eight in the Vermont schools. The winner
of the William Allen White Award is chosen
by the vote of the Kansas school children in
grades four through seven. The children of
Oklahoma determine the winner of the Se-
quoyah Children's Book Award. The book
which is found to be the most popular with
the children from the states of Idaho, Mon-
tana, Oregon, Washington, and the Province
of British Columbia receives the Pacific
Northwest Young Reader’s Choice Award.
Since 1947 the Boys’ Clubs of America have
presented Junior Book Award Medals to five
or more books published in the past year
which received the highest recommendations
from club members throughout the country.
The purpose of all of these is to encourage
children to read widely and more selectively.
Usually the choices are made from a large
master list which has eliminated undesirable
books. The actual process of reading and
sharing in the selection of these winners
serves the worthwhile function of increasing
interest in reading for boys and girls.
PUBLISHER'S AWARDS
Some publishers give awards which carry
large cash prizes for manuscripts or books for
children. These awards stimulate interest in
children’s literature among established au-
thors and help to discover new writers. The
Charles W. Follett Award, the Franklin Watts
Fiction Award, and the Dodd, Mead and
Company prizes are examples of this type.
FOREIGN BOOK AWARDS
The United States appears to have been the
pioneer in initiating children’s book awards.
The Newbery Medal was established in 1922.
In 1936 England began the presentation of
the Carnegie Medal for the outstanding book
for children written by a British author and
published in England. Except for a few lapses
during World War II, this award has been
Growth Patterns and Book Selection - 29
made annually. It was not until 1957 that
the Library Association of England estab-
lished the Kate Greenway Medal for the
most distinguished illustrated book for chil-
dren published in Great Britain. This award
corresponds to our Caldecott Medal. Canada
gives two awards for children's books; the
Book of the Year Medal chosen by the Cana-
dian Association of Children’s Librarians,
and the National Governor-General's Award.
The Canadian and British awards are impor-
tant to know, since these books are usually
available in the United States.
Other European countries have begun to
establish awards which are very similar to
our Newbery and Caldecott awards. Many
also recognize the format and typography of
the best books of the year. A brief listing of
the awards given by thirteen countries is in-
cluded in Appendix A.
The Hans Christian Andersen Prize was
established in 1956 as the first international
children’s book award. It is given every two
years to a book of fiction by the International
Board on Books for Young People. A com-
mittee of five, each from a different country,
judges the selections recommended by the
board or library association in each country.
The first award was made in 1956 to Eleanor
Farjeon’s The Little Book Room. In 1958 the
prize winning book was Rasmus Pa Luffen
(Rasmus and the Vagabond) by the Swedish
author Astrid Lindgren, who is best known
in this country for her Pippi Longstocking
books. The winner in 1960 was Erich Kastner,
a German author, who received the award for
his complete work for children.
No one but the most interested follower of
children’s literature would want to remem-
ber all the awards which are given for chil-
dren's books. Like the coveted “Oscars” of
the motion picture industry, and the “Em-
mys” of television, the awards in children’s
literature focus attention not only upon the
winners of the year but also upon the entire
field of endeavor. They recognize and honor
the best and also point the way to improved
writing, illustrating, and producing of worth-
while and attractive books for boys and girls.
Book Selection Aids
REFERENCE BOOKS
Anyone interested in children's literature
should have a reading acquaintance of the
books which have endured from one genera-
tion to another; he will also want to know
those modem books which have been singled
out for certain meritorious recognition either
by adults or children. It is further imperative
that he maintain familiarity with the flood
of newly published books. This would be an
almost impossible task were it not for the
number of fine books, book lists, and periodi-
cals which aid in the selection of good books
for children. An annotated list of these ref-
erences is given in Appendix B.
Among the particularly helpful tools for
selecting books for boys and girls is the Chil-
dren's Catalog published by the H. W. Wil-
son Company. This volume lists children's
books alphabetically by title, author, subject
matter, and kind. The books are well anno-
tated and include an estimate of age or grade
level suitability. The single-starred books
are recommended, the double-starred books
highly recommended. Teachers, parents, or
librarians attempting to fulfill a child's re-
quest about recent books on “space,” for ex-
ample, may use the Children's Catalog to ob-
tain titles appropriate to his reading level.
Two other helpful reference books are Eloise
Rue’s Subject Index to Books for Interme-
diate Grades and the Subject Index to Books
for Primary Grades. The latter is very much
out of date but the American Library Asso-
ciation has a new edition in preparation.
Compiled by Mary K. Eakin and Elinor Mer-
ritt it will retain the same title. The advan-
tage of these volumes is that they list refer-
ences to trade books and also include refer-
ences to texts and readers. The teacher is
given a comprehensive listing for each sub-
ject area with an indication of reading age.
Two indispensable tools for obtaining infor-
mation about poetry are the Brewtons’ Index
to Poetry and the Subject Index to Poetry for
Children and Young People compiled by a
committee of the American Library Associa-
30 - Meeting Books and Children
tion. The Brewtons’ volume indexes some
15,000 poems by title, subject, author, and
first line. It was published in 1942 but in-
cludes a 1956 supplement. The subject index
of the American Library Association was pub-
lished in 1957 and indexes some 157 poetry
collections under appropriate subject head-
ings. Meubah Hazen is the editor of a Sub-
ject Index to Children's Magazines published
monthly except for June and July.
BOOKS AND BOOK LISTS
Many books about children’s literature in-
clude comprehensive book lists. Phyllis Fen-
ner’s love and enthusiasm for children’s books
is captured in her delightful book, The Proof
of the Pudding, What Children Read . She
tells what children like to read and suggests
ways to encourage more reading. Larrick’s
book A Parent's Guide to Children's Reading
presents many practical suggestions for cor-
relating children’s interests with reading. A
useful annotated bibliography is included.
In A Teacher's Guide to Children's Reading,
Larrick suggests books for different grade
levels. Frank’s Your Child's Reading Today
is addressed to parents. Each section includes
a discussion of children’s needs and interests
and a selected, briefly annotated book list.
The major emphasis of both Anne Thax-
ter Eaton’s Treasure for the Taking and
Mary K. Eakin’s Good Books for Children is
placed upon comprehensive and well-anno-
tated entries. For this reason they are excel-
lent handbooks for teachers, parents and li-
brarians. Treasure for the Taking gives a
synopsis of each story, classifies it by subject,
and suggests the appropriate age level. Mary
K. Eakin selected the best of the books that
had been reviewed in the Bulletin of the Cen-
ter for Children's Books from 1948 to 1957
and incorporated them in her Good Books
for Children. A thousand titles were chosen,
annotated, and appraised. Each book is listed
by title, grade, and age level in a subject clas-
sification.
Two specialized but most useful books are
Tooze and Krone’s Literature and Music as
Resources for Social Studies and Leonard S.
Kenworthy’s Introducing Children to the
World. The first book combines references
to both books and music as means of enrich-
ing the social studies curriculum. There are
references to history of our country and to
the many countries of the world. Kenworthy’s
book suggests adult references as well as chil-
dren’s. Free and inexpensive materials and
audio-visual aids are also included besides
many excellent annotated bibliographies.
Many general and specialized book lists
are available. A small, extremely well se-
lected list is included in the booklet, Chil-
dren's Books Too Good to Miss by Arbuth-
not. This was revised in 1959 and reviews over
200 of the finest children's books. A center
section of illustrations selected from the work
of well-known children’s book artists helps
the teacher or librarian. The accompanying
text appraises the work and singles out the
distinctive style of each illustrator. A sub-
committee of the American Library Associa-
tion has compiled A Basic Book Collection
for Elementary Grades which includes some
1000 titles selected by more than twenty au-
thorities in children's literature. This list is
classified by subject, annotated, and has an
index of authors, titles and subjects.
Two comprehensive book lists are Ad ven-
turing with Books published by the National
Council of Teachers of English and A Bibli-
ography of Books for Children published by
the Association for Childhood Education In-
ternational. Both of these lists include over
1,500 titles and are revised frequently. They
are classified, annotated, and age levels are
suggested. Prices are listed and the dates of
publication are given. They are well-indexed
and cross references are included. Another
comprehensive listing is to be found in the
annual catalog of inprint juveniles entitled
Best Books for Children . The 1960 edition
includes some 3,300 titles which have been
carefully selected by experts in the field of
juvenile literature. The entries are specially
annotated to show whether they have been
recommended by the American Library As-
Growth Patterns and Book Selection - 31
sociation, Children's Catalog , Library Jour-
nal, etc. This list is compiled and annotated
in the offices of the Library Journal.
Bibliographies for books of the current
year are also available. The Child Study As-
sociation of America issues an inexpensive
annual list of books entitled Books of the
Year for Children. It includes titles for chil-
dren from age five through thirteen. Books
of outstanding quality are starred; one group-
ing of books for easy reading is identified.
A booklet called Recommended Children's
Books of 1959-60 contains over 1,100 reviews
reprinted in full from the Junior Libraries
section of the Library Journal. Exceptional
books are starred. Entries are arranged by
grade and subject. There is a complete au-
thor-title index. This booklet is compiled
each year.
Many specialized book lists can be ex-
tremely helpful. 30 There are bibliographies
of children's books on Alaska, Asia, Latin
America, and other countries. There are also
special lists for books which are concerned
with establishing better human relations, ra-
cial and religious understanding. One well-
known booklet in this area is Reading Lad-
ders for Human Relations compiled by Mar-
garet Heaton and Helen B. Lewis for the
American Council on Education. The cen-
tral idea behind this booklet was the belief
that “the printed page could be used to teach
attitudes as well as facts — and to teach in the
process of entertaining.” The “Reading Lad-
ders” are grouped around problem areas such
as patterns of family life, economic differ-
ences, growing-up, experiences of acceptance
and rejection, and others. Four age levels are
represented under each “ladder.” A small in-
expensive bibliography, is one entitled Books
Are Bridges published cooperatively by the
American Friends Service Committee and the
Anti-Defamation League of B’nai B’rith. The
entries are annotated, graded, classified, and
priced. Titles are included which help chil-
dren “cross bridges” of understanding.
"See Appendix B.
BOOK REVIEWS IN PERIODICALS AND
NEWSPAPERS
Certain periodicals will prove invaluable for
the person who wants to keep up with the
new books as they are published. An impor-
tant and up-to-date book-reviewing periodi-
cal is the American Library Association's
Booklist and Subscription Books Bulletin .
The special section on children's books in
this semimonthly publication will be very
useful to teachers and librarians. The Horn
Book Magazine is concerned exclusively with
literature for children and young people.
Published six times a year, it reviews current
books for children and includes many illus-
trations from them. Frequently there are fea-
ture articles about authors and illustrators
of children’s books. Junior Libraries appears
as a special section of the Library Journal but
separate subscriptions may be obtained. It is
issued monthly from September to May and
includes many appraisals of new children's
books. This journal includes short articles
about children’s literature. The Bulletin of
the Center for Children's Books is published
monthly, except for August, by the Univer-
sity of Chicago Press. It includes well-written,
complete reviews of new titles for children
and young people. It is almost unique in that
it includes reviews of books which it does not
recommend.
Many professional magazines print a
monthly column on new books for children.
Elementary English, published by the Na-
tional Council of Teachers of English has
such a section in addition to feature articles
on children's interests in reading, authors, il-
lustrators, and special books. Childhood Ed-
ucation, a professional magazine published
by the Association for Childhood Education
International, also carries a regular monthly
section devoted to children's book reviews.
Both the New York Herald Tribune and
the New York Times publish a page of re-
views of children's books in their Sunday
book section. Special children's book issues
appear in the spring and fall in these and
32 - Meeting Books and Children
other city newspapers to commemorate Book
Week and American Library Week.
Publishers print announcements of their
new titles as soon as they are ready. One can
easily ask to have his name placed on their
mailing lists to receive these notices. State,
county, and even local libraries frequently
print special lists of children's books. These
may help teachers to know what children's
books are in the public library.
There is no shortage of tools for the selec-
tion of books. Faithful and consistent read-
ing of one of the publications which reviews
books for children will lead the interested
person to those titles which he will want to
read and appraise for himself. The experts
cannot give a complete presentation of any
book in a six-line review. They can only help
the teacher decide if this is a book he would
like to consider. Book selection aids should
help eliminate the number of books which
most librarians and teachers must read, but
they do not eliminate reading. Whether it is
for a seven-year-old or a seventy-year-old,
there is no substitute for the personal read-
ing of a book you recommend.
SUMMARY
Children are individuals in their own right
with unique needs, interests, and capacities.
Studies have revealed similarity of growth
patterns for different ages and stages. All
children of the same age are not at the same
stage on this developmental continuum, but
most children will pass through these stages
in their ascent to maturity. Teachers inter-
ested in promoting reading will see that the
“right book for the right child" frequently
depends upon the “right time” in a child's
development. They will also consider the im-
portance of the learning environment and
the demands of our culture in presenting
particular tasks to children at certain stages
of their development.
It is imperative that adults, who are inter-
ested in promoting life-time reading habits
among children, not only know and under-
stand children but that they know children's
literature. The recent flood of children's
books makes it necessary to determine what
constitutes a good book for boys and girls.
Using such criteria as established in the pre-
ceding chapter, teachers should evaluate
books for plot, content, theme, characteriza-
tion, style, and format. Classics and the award
books are not always the best books for chil-
dren. Teachers, parents, and librarians will
find various book selection aids most useful
in keeping informed about the many new
books for children. Adults need to capitalize
upon their knowledge and understanding of
child development and see its implications
for selection and use of children's literature.
SUGGESTED ACTIVITIES
1. Assume you are Chuck’s teacher in the
opening anecdote. What suggestions
would you give to Chuck's mother?
What books would you recommend for
Chuck's reading?
2. If possible, interview one child concern-
ing his reading habits, likes, and dis-
likes. Also interview one of his parents
to determine the reading environment in
the home. What relationships can you
identify?
3. If you can meet with a class of children,
ask them to submit names of their favor-
ite ten books. How do their choices re-
flect their particular age and stage of
development?
4. Can you think of any one book which
you read and re-read as a child? What
particular qualities of the story appealed
to you? Re-read it and evaluate it ac-
cording to the criteria established in this
chapter. Would you still recommend it
for children?
5. List and discuss some children’s books
which you believe show personality
growth on the part of the characters.
6. Read one of the series books, the Bobb-
sey Twins, The Hardy Boys, The Sue
Barton, or Nancy Drew series. Analyze
this book for plot, content, theme, char-
acterization, style, and format.
7. Review the winners and runners-up for
the Newbery award or the Caldecott
award for one year. Do you agree with
the judges? Be prepared to state your
reasons.
8. Analyze the art work of the Caldecott
winners as to style, media, color, and
subject.
9. Read several acceptance speeches of
either the Caldecott or Newbery win-
ners. How has the author’s or illustra-
tor’s style been influenced by his con-
cepts of childhood?
10. If possible visit a printing shop or bind-
ery. What can you learn about binding,
typography, and general format?
11. Examine five different book selection
aids. List the kinds of information they
give. Which ones would you recommend
for teachers, parents, librarians? Are
there any which children could use?
RELATED READINGS
1. Almy, Millie. Ways of Studying Children. New
York: Bureau of Publications, Teachers Col-
lege, Columbia University, 1959.
Using materials from Cunningham and others
the author presents many suggestions for col-
lecting evidence for child study through ob-
servation, discussion, interviews, and records.
Chapter Five, “Study the Ways Children Ex-
press Themselves,” is particularly related to
use of literature in studying children.
2. Arbuthnot, May Hill. Children and Books. Re-
vised Edition. Chicago: Scott, Foresman, &
Company, 1957.
A comprehensive and detailed study of chil-
dren and their books. Primarily a college text-
book for children’s literature courses; it would
also be valuable for parents. Includes an an-
notated bibliography of books for each chapter
with age grading. Chapter II discusses criteria
for children’s books.
3. Boyd, Gertrude. Understanding Children Through
Informal Procedures. Laramie, Wyoming: Col-
lege of Education, University of Wyoming,
1957.
A bulletin which describes rating scales, socio-
metric techniques, and projective techniques
which can be used by the classroom teacher.
Growth Patterns and Book Selection - S3
4. Crouch, Marcus, compiler. Chosen For Children.
London: The Library Association, 1957.
This is an account of the books which have
been awarded the English Carnegie Medal
from 1936 to 1957. A description of each book
is followed by a brief biographical note on the
author. It is illustrated by line drawings from
the books and photographs of their authors.
It is interesting to compare this book with our
volume on Newbery Medal Books.
5. Cunningham, Ruth. Understanding Group Be-
havior of Boys and Girls. New York: Bureau
of Publications, Teachers College, Columbia
University, 1951.
Descriptions of techniques used for deter-
mining the social relationships within a class
group are presented in this study.
6. Fenner, Phyllis. The Proof of the Pudding , What
Children Read. New York: John Day Co., 1957.
Out of some thirty-two years’ experience, a
librarian wiites with enthusiasm about the
books children like to read and how to en-
courage them to read more. Contains annotated
lists of books in many fields. Chapter XV is
entitled "My father says to get a classic.”
7. Frank, Josette. Your Child's Reading Today.
New York: Doubleday & Company, Inc., 1954.
An interesting account of children’s reading
interests and choices. Gives helpful suggestions
to parents for encouraging reading. Each chap-
ter has an annotated list of books. Chapter X
discusses children’s classics for today.
8. Jenkins, Gladys Gardner, Helen Schacter, and
William W. Bauer. These Are Your Children.
Chicago: Scott, Foresman & Company, 1953.
Development and characteristics of children
from one to ten. Graphs, charts, and photo-
graphs are very useful.
9. Lane, Howard and Mary Beauchamp. Under-
standing Human Dex>elopment. Englewood
Cliffs, New Jersey: Prentice- Hall, Inc., 1959.
A very readable, informative book about the
development of human behavior, this volume
blends the findings of many disciplines. The
chapters dealing with the Pre-School Years,
Early Elementary Childhood, and The Middle
years of childhood describe the physical, social,
and mental thrusts of children during these
stages of development. Section Three, How to
Study Children and Youth, presents tools for
studying groups and individuals.
10. Lee, J. Murray and Dorris May Lee. The Child
and His Development. New York: Appleton-
Century-Crofts, Inc., 1958.
Part I presents basic concepts in understanding
the child. This is an excellent reference sum-
marizing physical and mental development as
well as the child’s social relationships and
34 • Meeting Books and Children
total personality development. Part II suggests
ways of understanding individuals. Techniques
to use in studying peer-group relationships, in
observing and understanding behavior cues are
especially valuable.
11. Miller, Bertha Mahony and Elinor Whitney Field,
editors. Caldecott Medal Books: 1938-1957.
Horn Book Papers, Volume II. Boston: The
Horn Book, Inc., 1957.
This is a companion volume to the Newbery
Medal Books. It contains the acceptance
speeches of the artists, their biographies, and
a brief format and book note for each winning
book. There is a biographical sketch of Ran-
dolph Caldecott and an interesting article by
Esther Averill entitled “What Is a Picture
Book?” A center signature includes one picture
from each award book. Unfortunately, the
limitation of black and white reproductions
cannot convey the rich colors of many of the
award winners.
12. Miller, Bertha Mahony and Elinor Whitney Field,
editors. Newbery Medal Books: 1922-1955.
Horn Book Papers, Volume I. Boston: The
Horn Book, Inc., 1955.
This book presents a brief history of the New-
bery Award and a biographical sketch of John
Newbery. It includes a book note, excerpt from
the book, biographical note and acceptance
speech of each award winner from the incep-
tion of the award. The winning books are
presented in chronological arrangement. Some
illustrations from the award books are in-
cluded.
15. Smith, Irene. A History of the Newbery and
Caldecott Medals. New York: The Viking
Press, Inc., 1957.
The author reviews the events that led to the
founding of the awards, describes the selection
proceedings, appraises the winning books, and
points out the far-reaching influence of the
awards. Chapter IX is one of the most inter-
esting — it discusses the popularity of the award
books.
CHAPTER REFERENCES
Alcott, Louisa May. Little Women. Illustrated by
J. W. Smith. Boston: Little, Brown 8c Company,
1954. (first published 1867) .
Aldis, Dorothy. All Together. Illustrated by Helen D.
Jameson. New York: G. P. Putnam’s Sons, 1952.
Jane's Father. Illustrated by Mary Stevens.
New York: G. P. Putnam’s Sons, 1954.
Asbjomsen, Peter Christon. Three Billy Goats Gruff.
Pictures by Marcia Brown. New York: Harcourt,
Brace & Company, 1957.
Atwater, Richard. Mr. Popper's Penguins. Illustrated
by Richard Lawson. Boston: Little, Brown &
Company, 1958.
Barrie, Sir James Matthew. Peter Pan. Illustrated by
Nora S. Unwin. New York: Charles Scribner's Sons,
1950. (first published in 1911 as Peter and Wendy) .
Beginning-To-Read Series. Chicago: Follett Publish-
ing Company.
Dorrel, Ramona. Too Many Dogs. 1959.
Guilfoile, Elizabeth. Nobody Listens to Andrew.
Illustrated by Mary Stevens. 1957.
Hastings, Evelyn. Big New School. Illustrated by
Polly Jackson. 1959.
Hoff, Carol. The Four Friends. Illustrated by Jim
Ponter. 1958.
Judson, Clara Ingram. Christopher Columbus. 1959.
King, Patricia. Mabel the Whale. Illustrated by
Katherine Evans. 1958.
Lattin, Anne. Peter's Policeman. Illustrated by
Gertrude E. Espenscheid. 1958.
Mclntire, Alta. The Beginning- to- Read Picture
Dictionary. Illustrated by Janet LaSalle. 1959.
Meeks, Esther. The Hill That Grew. Illustrated by
Laszlo Roth. 1959.
In John's Back Yard. Illustrated by Jessica
Zemsky. 1957.
Something New at the Zoo. Illustrated by
Hazel Hoecker. 1957.
Olds, Helen Diehl. Miss Hattie and the Monkey.
Illustrated by Dorothy Marino. 1958.
Romano and Georgiady. Gertie the Duck. Illus-
trated by Dagmar Wilson. 1959.
Vreeken, Elizabeth. The Boy Who Would Not Say
His Name. Illustrated by Leonard Shortall. 1959.
Beim, Jerrold. Trouble After School. Illustrated by
Don Sibley. New York: Harcourt, Brace 8c Com-
pany, 1957.
Bemelmans, Ludwig, (author-illustrator) . Madeline's
Rescue. New York: The Viking Press, Inc., 1955.
Bishop, Claire Huchet. Twenty and Ten. Illustrated
by William P£ne du Bois. New York: The Viking
Press, Inc., 1952.
Boston, Lucy M. Treasure of Green Knowe. Draw-
ings by Peter Boston. New York. Harcourt, Brace 8c
Company, 1958.
Boylston, Helen Dore. Sue Barton . Boston: Little,
Brown 8c Company, 1956.
Brink, Carol Ryrie. Caddie Woodlawn. Illustrated by
Kate Seredy. New York: The Macmillan Company,
1956.
Brooks, Walter R. The Freddy Series. Illustrated by
Kurt Wiese. New York: Alfred A. Knopf, Inc.
Freddy and the Baseball Team from Mars. 1955.
Freddy and the Bean Home News. 1945.
Freddy and the Cowboy. 1950.
Freddy the Detective. 1952.
Freddy and the Dragon. 1958.
Freddy and the Flying Saucer. 1957.
Freddy Goes Camping. 1948.
Brown, Marcia, (author-illustrator) . Cinderella. New
York: Charles Scribner’s Sons, 1954.
Brown, Margaret Wise. Goodnight Moon. Pictures by
Clement Hurd. New York: Harper Sc Brothers,
1947.
The Runaway Bunny. Pictures by Clement
Hurd. New York: Harper & Brothers, 1942.
Buck, Pearl S. The Big Wave. Illustrated with prints
by Hiroshige and Hokusai. New York: John Day,
Co., 1948.
Buckley, Helen E. Grandfather and I. Illustrated by
Paul Galdone. New York: Lot hr op, Lee and
Shepard Co., Inc., 1959.
Bulla, Clyde R. Squanto, Friend of the White Men.
Illustrated by Peter Burchard. New York: Thomas
Y. Crowell Company, 1954.
Surprise for a Cowboy. Illustrated by Grace
Pauli. New York: Thomas Y. Crowell Company,
1950.
Sword in the Tree. Illustrated by Paul
Galdone. New York: Thomas Y. Crowell Company,
1956.
Burnett, Frances Hodgson. The Secret Garden. Illus-
trated by Nora S. Unwin. Philadelphia: J. B. Lip-
pincott Company, 1949. (first published 1910) .
Burton, Virginia Lee (author-illustrator) . Mike Mul-
ligan and His Steam Shovel. Boston: Houghton
Mifflin Company, 1939.
Butterworth, Oliver. The Enormous Egg. Illustrated
by Louis Darling. Boston: Little, Brown & Com-
pany, 1956.
Cameron, Eleanor. The Terrible Chumadryne. Illus-
trated by Beth and Joe Krush. (Atlantic Monthly
Press) Boston: Little, Brown, & Company, 1959.
Carroll, Lewis, pseud. (Charles L. Dodgson) . Alice 3 s
Adventures in Wonderland. Illustrated by John
Tenniel. New York: The Macmillan Company
(New Children’s Classics) , 1950. (first published
1865) .
Chandler, Edna Walker. Cowboy Sam and the Rodeo.
Pictures by Jack Merryweather. Chicago: Beckley-
Cardy, Co., 1951.
Clark, Ann Nolan. The Secret of the Andes. Illus-
trated by Jean Chariot. New York: The Viking
Press, Inc., 1952.
Cleary, Beverly. Henry Huggins. Illustrated by Louis
Darling. New York: William Morrow & Company,
Inc., 1950.
Conklin, Gladys. 7 Like Caterpillars. Pictures by
Barbara Latham. New York: Holiday House, 1958.
Cormack, Maribelle B. The First Book of Stones. Pic-
tures by M. K. Scott. New York: Franklin Watts,
Inc., 1950.
Daugherty, James H. (author-illustrator) . Andy and
the Lion . New York: The Viking Press, Inc., 1938.
DeAngeli, Marguerite (author-illustrator) . Door in
the Wall. New York: Doubleday Sc Company, Inc.,
1949.
Defoe, Daniel. The Life and Adventures of Robinson
Growth Patterns and Book Selection -• 35
Crusoe. Illustrated by Roger Duvoisin. Cleveland:
World Publishing Co. (Rainbow Classics), 1948.
(first published 1719) .
Dejong, Meindert. The House of Sixty Fathers. Illus-
trated by Maurice Sendak. New York: Harper Sc
Brothers, 1956.
De Regniers, Beatrice Schenk. A Little House of Your
Own. Drawings by Irene Haas. New York: Har-
court, Brace Sc Company, 1955.
Dixon, Franklin W. The Hardy Boys. New York:
Grosset Sc Dunlap, Inc.
Dodge, Mary Mapes. Hans Brinker, or The Silver
Skates. Illustrated by George W. Edwards. New
York: Charles Scribner’s Sons (Scribner Illustrated
Classics) , 1959. (first published 1865) .
Du Bois, William P6ne (author-illustrator) . Twenty-
One Balloons. New York: The Viking Press, Inc.,
1947.
Duvoisin, Roger A. (author-illustrator) . Petunia.
New York: Alfred A. Knopf, Inc., 1950.
Earle, Olive L. (author-illustrator) . Crickets. New
York: William Morrow & Company, Inc., 1956.
Edmonds, Walter D. Two Log Crossing. Pictures by
Tiber Gergely. New York: Dodd, Mead, & Com-
pany, 1943.
Enright, Elizabeth (author-illustrator) . Thimble
Summer. New York: Holt, Rinehart and Winston,
Inc., 1938.
Estes, Eleanor R. The Hundred Dresses. Illustrated
by Louis Slobodkin. New York: Harcourt, Brace Sc
Company, 1944.
Farjeon, Eleanor. The Little Book Room. Illustrated
by Edward Ardizzone. New York: Henry Z. Walck,
Inc., 1956.
Farley, Walter. The Black Stallion Series. New York:
Random House, Inc.
The Black Stallion. Illustrated by Keith Ward.
1941.
The Black Stallion and Satan. Illustrated by Milton
Menasco. 1949.
The Black Stallion Mystery. Illustrated by Mai
Singer. 1957.
The Black Stallion Returns. Illustrated by Harold
Eldridge. 1951.
Felt, Sue (author-illustrator) . Rosa-Too-Little. New
York: Doubleday & Company, Inc., 1950.
Flack, Marjorie (author-illustrator) . Angus and the
Ducks. New York: Doubleday Sc Company, Inc.,
1931.
The New Pet. New York: Doubleday Sc Com-
pany, Inc., 1943.
Wait for William. Pictures by Marjorie Flack
and Richard A. Holberg. Boston: Houghton, Mifflin
Company, 1935.
Forbes, Esther. Johnny Tremain. Illustrated by Lynd
Ward. Boston: Houghton Mifflin Company, 1943.
Francoise. pseud. (Francoise Seignobosc) (author-
illustrator) . Things I Like. New York: Charles
Scribner’s Sons, 1960.
36 - Meeting Books and Children
Friedman, Frieda. Carol from the Country. Illustrated
by Mary Barton. New York: William Morrow &
Company, Inc., 1950.
Fritz, Jean. The Cabin Faced West. Illustrated by
Feodor Rojankovsky. New York: Coward- McCann,
Inc., 1958.
GAg, Wanda (author-illustrator) . Millions of Cats.
New York: Coward-McCann, Inc., 1928.
Garfield, James B. Follow My Leader. Illustrated by
Robert Greiner. New York: The Viking Press, 1957.
Gates, Doris. Blue Willow. Illustrated by Paul Lantz.
New York: The Viking Press, 1948.
George, Jean and John (authors-illustrators) . Dipper
of Copper Creek. New York: E. P. Dutton & Co.,
Inc., 1956.
Gipson, Frederick B. Old Yeller. Illustrated by Carl
Burger. New York: Harper & Brothers, 1956.
Grahame, Kenneth. Wind in the Willows. Illustrated
by Arthur Rackham. New York: Heritage Press,
1944. (first published 1908) .
Gramatky, Hardie (author-illustrator) . Little Toot .
New York: G. P. Putnam’s Sons, 1958.
Gunther, John, et al, Meet South Africa. Illustrated
by Grisha. New York: Harper & Brothers, 1958.
Hader, Berta and Elmer (authors-illustrators) . The
Big Snow. New York: The Macmillan Company,
1948.
Hayes, Florence. Skid. Illustrated by Elton C. Fax.
Boston: Houghton, Mifflin Company, 1948.
Heinlein, Robert A. Tunnel in the Sky. New York:
Charles Scribner’s Sons, 1955.
Henry, Marguerite. Misty of Chincoteague. Illus-
trated by Wesley Dennis. Skokie, Illinois: Rand
McNally & Company, 1947.
Hope, Laura L. The Bobbsey Twins. New York:
Grosset & Dunlap, Inc., 1910.
I Can Read Series. New York: Harper & Brothers.
Hoff, Syd (author-illustrator) . Danny and the
Dinosaur. 1958.
Julius. 1959.
Sammy the Seal. 1959.
Hurd, Edith T. Last One Home is a Green Pig.
Illustrated by Clement Hurd. 1959.
Minarik, Else Holmelund. Father Bear Comes
Home. Illustrated by Maurice Sendak. 1959.
Little Bear. Illustrated by Maurice Sendak.
1957.
No Fighting , No Biting! Illustrated by
Maurice Sendak. 1958.
Selsam, Millicent. Seeds and More Seeds. Illustrated
by Tomi Ungerer. 1959.
Stolz, Mary. Emmett's Pig. Illustrated by Garth
Williams. 1959.
Irving, Washington. Rip Van Winkle and the Legend
of Sleepy Hollow. Illustrated by Maude and Miska
Petersham. New York: The Macmillan Company
(New Children's Classics), 1951. (First published
1819 as part of Irving's Sketch Book.)
James, Will (author-illustrator) . Smoky, the Cow-
horse. New York: Charles Scribner’s Sons, 1926.
Joslin, Sesyle. What Do You Say Dear? Pictures by
Maurice Sendak. New York: William R. Scott, Inc.,
1958.
Judson, Clara. Mr. Justice Holmes. Illustrated by
Robert Todd. Chicago: Follett Publishing Com-
pany, 1956.
Kahl, Virginia (author-illustrator) . The Duchess
Bakes a Cake. New York: Charles Scribner's Sons,
1955.
Keene, Carolyn. Nancy Drew. New York: Grosset &
Dunlap, Inc.
Kipling, Rudyard. The Jungle Book. Illustrated by
Kurt Wiese. New York: Doubleday & Company,
Inc., 1932. (first published 1894) .
Krasilovsky, Phyllis. The Man Who Didn't Wash
His Dishes. Illustrated by Barbara Cooney. New
York: Doubleday 8c Company, Inc., 1950.
Krauss, Ruth. The Growing Story. Illustrated by
Phyllis Rowland. New York: Harper & Brothers,
1947.
A Very Special House. Illustrated by Maurice
Sendak. New York: Harper & Brothers, 1953.
Krumgold, Joseph. . . . and Now, Miguel. Illustrated
by Jean Chariot. New York: Thomas Y. Crowell
Company, 1953.
Onion John. Illustrated by Symeon Shimin.
New York: Thomas Y. Crowell Company. 1959.
Kunhardt, Dorothy. Pat the Bunny. New York:
Golden Press, 1940.
Lawson, Robert (author- illustrator) . Rabbit Hill.
New York: The Viking Press, Inc., 1956.
Mr. Twigg's Mistake. Boston: Little, Brown &
Company, 1947.
Lef6vre, Felicite. pseud. (Margaret Smith -Masters) .
The Cock, the Mouse , and the Little Red Hen.
Illustrated by Tony Sarg. Philadelphia: Macrae
Smith Company, 1945.
Le Grand, pseud. (LeGrand Henderson) . (author-
illustrator) . How Baseball Began in Brooklyn.
Nashville, Tennessee: Abingdon Press, 1958.
Lenski, Lois (author-illustrator) . Strawberry Girl.
Philadelphia: J. B. Lippincott Co., 1945.
Lindgren, Astrid. Pippi Longstocking. Illustrated by
Louis S. Glanzman. New York: The Viking Press,
Inc., 1950.
Lovelace, Maud Hart. The Betsy -Tacy Series. New
York: Thomas Y. Crowell.
Betsy and Tacy Go Downtown. Illustrated by Lois
Lenski. 1943.
Betsy and Tacy Go Over the Big Hill. Illustrated
by Lois Lenski. 1942.
Betsy-Tacy. Illustrated by Lois Lenski. 1940.
Betsy, Tacy and Tib. Illustrated by Lois Lenski.
1941.
Betsy's Wedding. Illustrated by Vera Neville. 1955.
Heaven to Betsy. Illustrated by Vera Neville. 1945.
Growth Patterns and Book Selection - 37
McCloskey, Robert. (author-illustrator) . Homer
Price. New York: The Viking Press, Inc., 1943.
Make Way for Ducklings. New York: The
Viking Press, Inc., 1941.
One Morning in Maine. New York: The
Viking Press, Inc., 1952.
Time of Wonder. New York: The Viking
Press, Inc., 1957.
McClung, Robert M. (author-illustrator) . Sphinx.
New York: William Morrow and Company, Inc.,
1949.
MacDonald, Betty. Mrs. Ptggle Wiggle. Illustrated by
Hilary Knight. (Rev. ed.) Philadelphia: J. B. Lip-
pincott Co., 1957.
MacDonald, Golden, pseud. (Margaret Wise Brown) .
The Little Frightened Tiger. Illustrated by Leonard
Weisgard. New York: Doubleday & Company, Inc.,
1953.
MacGregor, Ellen. Miss Pickerell Series. Illustrated
by Paul Galdone. New York: McGraw-Hill Book
Co.
Miss Pickerell and the Geiger Counter. 1953.
Miss Pickerell Goes to Mars. 1951.
Miss Pickerell Goes to the Arctic. 1954.
Miss Pickerell Goes Undersea. 1953.
Marino, Dorothy (author-illustrator) . Where Are
The Mothers? Philadelphia: J. B. Lippincott, Com-
pany, 1959.
Meader, Stephen W. River of the Wolves. Illustrated
by Edward Shenton. New York: Harcourt, Brace, 8c
Company, 1948.
Milne, A. A. Winnie the Pooh. Illustrated by Ernest
H. Shepard. New York: E. P. Dutton 8c Co., Inc.,
1926.
Minarik, Else Holmelund. Little Bear. Illustrated by
Maurice Sendak. New York: Harper 8c Brothers,
1957.
Miner, Opal Irene. The True Book of Policemen and
Firemen. Illustrated by Irene Miner and Mary
Salem. Chicago: Childrens Press, Inc., 1954.
Mirsky, Reba Paeff. Thirty-One Brothers and Sisters.
Illustrated by W. T. Mars. Chicago: Follett Pub-
lishing Company, 1952.
Munari, Bruno. Who's There? Open the Door! Trans-
lated by Maria Cimoni. Cleveland: World Pub-
lishing Company, 1957.
Newell, Hope. The Little Old Woman Who Used Her
Head. Pictures by Margaret Ruse. New York:
Thomas Nelson & Sons, 1935.
Norton, Mary. The Borrowers. Illustrated by Beth
and Joe Krush. New York: Harcourt, Brace, 8c Co.,
1953.
The Borrowers Afield. Illustrated by Beth
and Joe Krush. New York: Harcourt, Brace, &
Company, 1955.
Potter, Beatrix (author-illustrator) . The Tale of
Peter Rabbit. New York: Frederick Warne 8c Com-
pany, Inc., 1902.
Rand, Ann and Paul. I Know a Lot of Things. New
York: Harcourt, Brace, 8c Company, 1956.
Rawlings, Marjorie K. The Yearling. Illustrated by
N. C. Wyeth. New York: Charles Scribner's Sons,
1939.
Renick, Marion R. Nicky's Football Team. Illus-
trated by Marian Honigman. New York: Charles
Scribner’s Sons, 1951.
Rey, Hans A. (author-illustrator) . Curious George
Gets a Medal. New York: Houghton Mifflin Com-
pany, 1957.
Rojankovsky, Feodor (illustrator) . Tall Book of
Nursery Tales. New York: Harper 8c Brothers, 1944.
Salten, Felix. Bambi: A Life in the Woods. New
York: Grosset 8c Dunlap, Inc., 1926.
Sauer, Julia Lina. Mike's House. Illustrated by Don
Freeman. New York: The Viking Press, Inc., 1954.
Sawyer, Ruth. Maggie Rose: Her Birthday Christmas.
Pictures by Maurice Sendak. New York: Harper &
Brothers, 1952.
Seredy, Kate (author-illustrator) . The Good Master.
New York: The Viking Press, Inc., 1935.
Seuss, Dr. pseud. (Theodor S. Geisel) (author-
illustrator) . The Cat in the Hat. New York:
Random House, Inc., 1957.
The Cat in the Hat Comes Back. New York:
Random House, Inc., 1958.
Sewell, Anna. Black Beauty. Illustrated by Wesley
Dennis. Cleveland: World Publishing Company
('Rainbow Classics) , 1946 (First published 1877.)
Shane, Ruth and Harold G. The New Baby. Illus-
trated by Eloise Wilkin. New York: Simon 8c
Schuster, Inc., 1948.
Sharp, Edith Lambert. Nkwala. Illustrated by William
Winter Boston: Little, Brown, 8c Co., 1958.
Simon, Norma. The Daddy Days. Pictures by Abner
Graboff. New York: Abelard-Schuman, Limited,
1958.
Sorensen, Virginia. Miracles on Maple Hill. Illus-
trated b\ Beth and Joe Krush. New York: Har-
court, Brace 8c Company, 1956.
Plain Girl. Illustrated by Charles Heer. New
York: Harcourt, Brace, 8c Company, 1955.
Sperry, Armstrong (author-illustrator) . Call It
Courage. New York: The Macmillan Company,
1940.
Spyri, Johanna. Heidi. Illustrated by Leonard Weis-
gard. Cleveland: World Publishing Company
(Rainbow Classics) . 1946. (First English transla-
tion, 1884.)
Steele, William O. The Lone Hunt. Illustrated by
Paul Galdone. New York: Harcourt, Brace, 8c
Company, 1956.
Winter Danger. Illustrated by Paul Galdone.
New York: Harcourt, Brace, 8c Company, 1954.
Steiner, Charlotte (author-illustrator) . Lulu's Play
School. New York: Doubleday 8c Company, Inc.,
1948.
38 - Meeting Books and Children
Sterling, Dorothy. Mary Jane. Illustrated by Ernest
Cricklow. New York: Doubleday 8c Company, Inc.,
1959.
Stevenson, Robert Louis. Treasure Island. Illustrated
by N. C. Wyeth. New York: Charles Scribner's
Sons, 1911. (First published 1883.)
Stong, Phil. Honk, the Moose. Illustrated by Kurt
Wiese. New York: Dodd, Mead & Company, 1935.
Temple, Shirley. Shirley Temple’s Storybook. Pre-
pared under the editorial supervision of Josette
Frank. New York: Random House, Inc., 1958.
Travers, Pamela L. Mary Poppins. Illustrated by
Mary Shepard. New York: Harcourt, Brace, 8c
Company, 1934.
Twain, Mark, pseud. (Samuel Clemens) . The Adven-
tures of Tom Sawyer. Illustrated by Louis Slobod-
an. Cleveland: World Publishing Company (Rain-
bow Classics) , 1946. (First published 1871.)
The Adventures of Huckleberry Finn. Illus-
trated by F. W. Kemble. New York: Harper 8c
Brothers (Uniform Trade Edition) , 1927. (First
published 1884.)
Ward, Lynd (author-illustrator) . The Biggest Bear.
Boston: Houghton Mifflin Company, 1952.
Weisgard, Leonard (author-illustrator) . The Clean
Pig. New York: Charles Scribner’s Sons, 1952.
White, Elwyn Brooks. Charlotte’s Web. Illustrated by
Garth Williams. New York: Harper 8c Brothers,
1952.
Wilder, Laura Ingalls. The Little House in the Big
Woods. Illustrated by Garth Williams. New York:
Harper & Brothers, 1953. (First published 1932.)
Will and Nicolas, pseud. (William Lipkind and
Nicolas Mordvinoff) (authors-illustrators) . Finders
Keepers. New York: Harcourt, Brace, 8c Company,
1952.
Woolley, Catherine. Ginnie and the New Girl . Illus-
trated by Iris Beatty Johnson. New York: William
Morrow & Company, Inc., 1954.
Wyss, Johann David. Swiss Family Robinson. Illus-
trated by Jeanne Edwards. Cleveland: World Pub-
lishing Company (Rainbow Classics) , (First pub-
lished 1813.)
Yashima, Taro, pseud. (Jun Iwamatsu) (author-
illustrator) . Crow Boy. New York: The Viking
Press, Inc., 1955.
Umbrella. New York: The Viking Press, Inc.,
1958.
Zim, Herbert S. Golden Hamsters. Illustrated by
Herschel Wartik. New York: William Morrow 8c
Company, Inc., 1951.
Zion, Gene. The Plant Sitter. Pictures by Margaret
Bloy Graham. New York: Harper & Brothers,
1959.
Zolotow, Charlotte. Big Brother. Pictures by Mary
Chalmers. New York: Harper & Brothers, 1960.
Do You Know What I’ll Do? Illustrated by
Garth Williams. New York: Harper 8c Brothers,
1958.
The Night When Mother Was Away. Pictures
by Reisie Lonette. New York: Lothrop, Lee 8c
Shepard Co., Inc., 1959.
The Storm Book. Pictures by Margaret Bloy
Graham. New York: Harper & Brothers, 1952.
2 - Children’s Books of Today 9
Yesterday . and Tomorrow
“Boy, we had a good time/' Ken exclaimed
as he bounced into the Dryden living room
with eleven-year-old energy. “See the neat
books I bought with my birthday money
from Grandmother!" Ken opened the pack-
ages to show his mother and father Onion
John and The Moon: The Earth's Satellite .
“Children today do have wonderful books
compared to those in my time," said the
eighty-two year old Aunt Marion. “Just look
at this living room! No, I don't mean the
mess, Elizabeth, I mean the books you and
John read, the books the children own, and
the books you bring from the library."
The adults looked around the pleasant
room with sudden awareness of the wide va-
riety of reading material. Three-year-old
Nancy had her new picture books from the
library. Janey at seven had her own shelf of
favorites and made independent trips to the
neighborhood library. There were news mag-
azines, women’s magazines, a journal about
records and music, a gardening magazine,
and two literary periodicals in addition to
John Dry den’s professional journals. The
book shelves contained old favorites and some
ot the new novels, poetry, history, biography,
and an encyclopedia for the children.
“But this has always been a ‘reading' fam-
ily," said Grandmother Dryden. "John and
his brothers and sisters read a great deal
when they were young — actually more than
these children do because they didn’t have
television."
“But John’s children do read a great deal,
I’ve noticed," Aunt Marion remarked. "The
books are certainly wonderful, compared to
the ones I had — and they're even much bet-
ter than the literature you and Elizabeth had,
John.”
“What were some of your favorites, Aunt
Marion?" Elizabeth asked. "What kinds of
39
40 - Meeting Books and Children
books did you read when you were Janey 's
and Ken’s age?”
“They were certainly not attractive,” she
reminisced. “Oh, there were a few black and
white sketches, but little action — very sel-
dom any color. I can recall Robinson Crusoe ,
Treasure Island, and Alice in Wonderland,
of course. I loved Swiss Family Robinson
when Father read it aloud. Then I read
things my brothers liked, too — Hans Brinker,
Tom Sawyer, Black Beauty ”
“Why we are still reading some of those
books!” exclaimed Ken. “What else did you
have in the olden days, Aunt Marion?”
She chuckled and went on, “I remember
reading some of the ‘penny dreadfuls’ as
they were called. Jack Harkaway had excit-
ing adventures in those cheap books. Then
there was the Five Little Pepper series — oh,
yes, we had series books, too. And fantasy,
I liked The Water Babies and the fairy tales
by Grimm. Ken, we had a marvelous science
fiction book, Twenty Thousand Leagues Un-
der the Sea. Heidi and Little Women were
favorites — you have them on your shelf, too.”
“The wonderful part is that the good
books of our days live on. But there are so
many now,” added the older Mrs. Dryden.
“John enjoyed the same Johnny Crow's Gar-
den and Peter Rabbit which mother read to
me, and now my grandchildren enjoy them.”
“What did you like to read when you were
a little girl. Grandma?” asked Janey.
“Many of the books Aunt Marion named
were my favorites, too,” she answered. “I
liked The Secret Garden and The Wonderful
Adventures of Nils . The Lucy Perkins’ Twins
series about other lands were real favorites,
too. Mother read Wind in the Willows aloud,
and I loved it. And I liked the Wizard of Oz
books, too. Then, we all looked forward to
St. Nicholas magazine each month.”
Her son, John, joined the conversation to
inquire, “Mother, didn’t most of your books
seem sentimental in contrast to books today?
Wasn’t there still quite a lot of moralizing?”
“Some of the stories did preach, John,”
she answered, “But the ones I remember best
were not of the Horatio Alger type your
father enjoyed. Oh, I do recall a Dotty Dim-
ple series that was really rather priggish. I
think there was a wider variety in my child-
hood than in Marion's even ten years earlier,
but we had nothing to compare with the
books your children have.”
“I was just thinking how many you have
mentioned were books I enjoyed, too, but I
don’t feel I had nearly the opportunities to en-
joy picture books,” Elizabeth added. “I loved
Winnie the Pooh, Dr. Dolittle, and later there
were the Little House Books. ‘My copies of
Caddie Woodlawn and The Good Master are
being saved for Janey. And I read series
books, too, The Bobbsey Twins, for example.
But I’m sure we didn’t have lovely picture
books like these Nancy can enjoy before go-
ing to school.”
“And we didn’t have your exciting books
of science, Ken,” said his father. “Let’s see
that new book about the moon.”
“I’ll read to you now, Nancy,” said Grand-
mother Dryden — and the rest of the family
turned to various interests.
Through the eyes of one family it is easy
to see the changing types of literature for
children. In their discussion the Drydens had
not recognized the influence on children’s
literature of changing attitudes toward chil-
dren and the results of evolutions in philos-
ophy and concepts about the world.
CHILDRENS BOOKS TODAY
Big Business
Today there is a literature for children which
has never existed before in the history of
mankind. Revolving racks in drugstores, su-
permarkets, train depots, and airports dis-
play brightly illustrated books designed to
attract young readers. Mother selects a book
as she piles groceries into the cart. Encyclo-
pedias are next to frozen foods. Children clus-
Literature experiences may be-
gin in the grocery store. Photo-
graphed by R. E. Peterson.
ter in groups to devour comics. Following
adult patterns, selections from childrens
book-of-the-month clubs find their way into
hundreds of homes. Children’s magazines ar-
rive at the home each month. Thousands of
children visit attractive rooms in public li-
braries each week where trained librarians
give them assistance. They seek information
in many books; for no longer does one school
text satisfy them.
The publication and distribution of ju-
venile books comprises a big business. In
1958, total sales of all children’s books were
over $54 million. Juvenile books retailing at
over one dollar increased 54.5 percent from
1954 to 1958, reaching forty million copies. 1
Total sales of juveniles increased by 350 per-
cent from 1949 to 1959.- The number of new
1 Wyllis E. Wright, editor, American Library and
Book Trade Annual for 1959. New York: R. R.
Bowker Company, 1959. p. 44.
2 Curtis M. Benjamin, “The Industry that Disdains
Success,” Saturday Review 58:13-15,58, June 25, 1960.
juveniles published yearly has more than
tripled since 1920 when 410 new titles were
listed. By 1950, there were 907 new titles
lor children, and by 1958 publishers pre-
sented 1,424 new books. 3 Today there are
more than ninety children’s book editors. In
1919 there was but one! Newspapers devote
pages to reviews of children’s books.
Juveniles form an important part of the
publishing business. For example, two-thirds
of the revenue of one firm publishing all
types of books is derived from the sale of their
juveniles. In several firms, profits from sale
of juveniles subsidize the publication of more
esoteric literature. Recently, firms which pub-
lish children s trade books only have shown
tremendous growth.
In 1957 nearly one in three of all books
published in the United States was a juvenile.
Sales of successful adult novels tend to reach
* American Library and Book Trade Annual, 1959,
p. 45.
41
42 - Meeting Books and Children
their peak in six months; sales of outstand-
ing children’s books continue to maintain
high levels. For example, Frances Hodgson
Burnett’s The Secret Garden (1909), Mar-
jorie Flack’s The Story About Ping (1933),
E. B. White’s Charlotte's Web (1942) have
steadily sold ten to twenty thousand copies
a year. Five million copies of The Pokey Lit-
tle Puppy were sold in fifteen years. 4 In 1959
Warne sold 24,000 copies of The Tale of
Peter Rabbit (1902) and 3600 copies of
Johnny Crow's Garden (1903) . This firm
also sold 3000 copies of Kate Greenway' s
Birthday Book which was published in 1880. 5
Circulation of library books has also in-
creased as more books have become avail-
able. For example, in 117 libraries in cities
over fifty thousand the circulation increased
4.2 percent from 1955 to 1956. 6 In 1939, one-
third of the total library circulation was ju-
venile; by 1956 the juvenile circulation ac-
counted for one-half the total. 7 A survey of
seventy three library systems reported in 1960
also indicated increases in library circula-
tion. For example, book borrowing doubled
in one city in ten years, whereas its popula-
tion increased only thirty percent. 8
Better Quality and More Variety
New developments in printing processes
made possible the publication of more beau-
tiful books. As fine, well-illustrated books
received recognition, more talented writers
and artists devoted their energies to the pro-
duction of quality books for children. Un-
fortunately, mass-production techniques have
also increased the number of cheap, mediocre
books.
A visit to the juvenile book section of a
large department store illustrates the wide
variety of literature available for children
today. On the shelves there are books of all
sizes and shapes, from the diminutive Flora
McFlimsey books to the elongated Alligator
Tears to the oversized Golden Book of As-
tronomy. Books of poetry, nonsense, history,
science, biography and fiction are displayed.
Illustrations have infinite variety — from Ta-
sha Tudor’s quaint drawings to Alvin Tres-
selt’s bright splashes of color, from Marcia
Brown’s fairy-like Cinderella to the realistic
photographs in Fun Around the World.
There are books for adults to read to chil-
dren, books for the beginning reader, and
books for the skilled reader. From these
pages, children can experience the near and
the far, the exciting and amusing, the real
and fantastic — a gamut of human experience.
Children’s literature has come of age! In an
era of science where life becomes more com-
plex there must be time for enjoying this
wide range of literature. Selecting books from
the vast array now available becomes the
challenging task of parents, teachers, and
librarians.
CHILDREN’S BOOKS YESTERDAY
The elementary teacher can better appreciate
the richness of children’s literature today by
tracing the development of these varied types
of books for children. Meigs wrote of the im-
* Time 70:74-76, December 23, 1957.
•“Currents,” Publishers Weekly 177:83, February
19, 1960.
e U. S. Office of Education, Statistics of Public
Libraries , Circular No. 505, May, 1957.
7 “Index of American Public Library Circulation,”
American Library Association Bulletin 51:640, Sep-
tember, 1957.
•“Reading on the Rise,” Time 76:44, July 25, 1960.
portance of knowledge of the development
of literature:
To be aware of the greatness of a literature is
not always to understand it fully, since to have in-
terest and regard for it does not imply entire
knowledge of what it is and how it came to be.
But if thinking people are to have any part in
shaping the literature of the present and the fu-
ture, they should have a fuller understanding of it
as a whole and of its past. 9
9 Cornelia Meigs, editor, A Critical History of Chil-
dren's Literature. New York: The Macmillan Com-
pany, 1953. p. 3.
Children's Books of Today , Yesterday , and Tomorrow - 43
The literature available for children re-
flects the attitudes of society in that period.
Books have always been viewed as instru-
ments for transmitting the mores of the cul-
ture and for inculcating attitudes and values.
For example, Colonial children were treated
as miniature adults, not as developing per-
sonalities, important in their own right.
When Joseph Downing published the first
catalog of books for children and young peo-
ple, The Young Christians Library (1710),
he stressed the idea that the purpose of such
books was to foster the health of the child’s
soul. Children were admonished to avoid
“books, ballades, songs, sonettes, and ditties
of dalliance.”
Today, as in the past, adults write the
books; adults print the books; adults review
the books; adult teachers and librarians and
parents and gift givers review and select most
of the books children read. Hazard says chil-
dren defend themselves, “. . . when they
have singled out a work that they like and
have decided to take possession of it, nothing
can make them change their minds ... It is
that book there that they want, that very
one and not its neighbor.” 10 Children are the
final arbiters of books they will read, but
Sloane reminds us that “It is impossible to
determine precisely how much of the change
that occurred in children’s literature was due
to increasing sagacity of adults and how
much was due to increasing demands of chil-
dren.” 11
As the didactic and dour changed to the
fanciful and “precious,” and as adults be-
came more aware of children’s demands for
informational literature and adventure, the
influence of society upon literature is evi-
dent. The changing status of children is re-
flected in the literature available to them.
In addition, the changing attitudes, values,
philosophies, and concepts of man and the
universe are reflected in children's books. An
10 Paul Hazard, Books Children and Men. Boston:
The Horn Book, Inc., 1947. p. 51.
11 William Sloane, Children's Books in England and
America in the Seventeenth Century. New York:
Kings Crown Press, 1955. p. 17.
understanding of the growth of children’s lit-
erature as part of a developing culture will
enable the classroom teacher to better eval-
uate children's books of today.
Children’s Books:
Seventeenth— Eighteenth Century
BACKGROUND
To that “stern and rock-bound coast” the
early colonists brought old-world concepts
and philosophies which would yield to new-
world pressures and needs. Traditional Chris-
tion theism held that children were born in
sin, that eternal salvation could come only
to the elect, and that eternal punishment
would be meted out to the sinner. Voting
rights and office-holding privileges were re-
served for members of the church. Children
were viewed as miniature adults who learned
obedience to authority through fear.
By the middle of the eighteenth century
there was a shift from knowledge based upon
religious sanctions to knowledge derived
from human investigation. Newton, Bacon,
Copernicus, Kepler, and Galileo had chal-
lenged the divine laws and authoritarian
reasoning, and had shown the way toward a
method of science. Apparent natural laws
suggested the study of nature and human
nature. Locke stated that human nature was
at least partially the result of the environ-
ment; Rousseau emphasized the natural un-
folding of a child nature which he believed
to be inherently good.
Concurrently, an agrarian feudalism was
changing to commercial capitalism. There
was a growing middle class; the emphasis
upon trade led to new educational needs.
Some of the religious sects introduced social
reform and emphasized teaching children
through love. Colonial government had been
based upon the view that only the few
“godly” men should rule; the changing eight-
eenth-century view held that government
should be based on the natural rights of all
men.
By the end of the century the idea of in-
dividual rights of the child was being recog-
nized. Life was often uncomfortable and rig-
Forerunner of cartoon style in a woodcut used to il-
lustrate an early chapbook of Sir Richard Whitting-
ton. From Illustrators of Children’s Books , 1744-1945.
Horn Book, 1947.
orous in this new land and there were few
books for adults or children to relieve the
drabness of living. A survey of the types of
literature available for children in early
America reveals the effect of attitudes toward
children.
BOOKS OF THE EARLY COLONISTS
What books were packed in the chests which
came across the Atlantic with the early colon-
ists? The Bible was a treasured book of those
who could afford to have one. Perhaps a copy
of William Caxton’s 1497 book, The Book of
Courtesye was owned by some colonists. This
was a description of the typical day of the
well-bred English child. Another book of
manners was Youth's Behavior, translated
from the French in 1636. Here one could read
how to dress properly, how to walk, how to
remove fleas tactfully, how to dispose of
bones neatly, and other niceties of life. Prop-
erties of Things printed by Wynken de
Worde in 1495, gave the names of parts of
the body, plants, mountains, and diseases.
Caxton also printed Aesop's Fables in 1484,
using many woodcuts. A 1582 edition of
Aesop's Fables written in Latin, is described
in the catalog, The Osborne Collection of
Early Children's Books. 12
Probably some of the colonists owned at
least one of the bestiaries, animal tales which
combined elements of fable and scripture.
Topsel’s The History of Four-Footed Beasts
(1658) is an example of these books about
dragons, unicorns, and other strange crea-
tures. The first picture book planned for
children was written by Comenius in 1657.
Perhaps a few colonists brought the 1658
English translation of this book, Orbus Pictus
with its woodcuts illustrating everyday ob-
jects.
Just before sailing, a colonist might have
purchased a chapbook from a peddler. These
were very small, inexpensive paper booklets
sold by peddlers or chapmen. “A ballad of a
most strange wedding of the froggee and the
mouse" had been licensed in 1580. Samuel
Pepys bequeathed several of these early chap-
books to the Cambridge library. In this col-
lection, published in the 1680's, may be found
Tom Thumb , Guy of Warwick, and accounts
of crimes and executions, descriptions of the
art of making love, and riddles. The earliest
known edition of Jack The Giant Killer
seems to be one printed in 1711. Some of
these chapbooks were brought to New Eng-
land.
The religious leaders could give approval
to the moral and religious instruction in
John Bunyan’s Pilgrim's Progress, first
printed in 1678. No doubt children skipped
the long theological dialogues as they found
adventure by traveling with the clearly de-
fined characters. Probably only a few chil-
dren could read this book independently, but
it became a significant part of literature for
children.
Early writers and educators often thought
that words of wisdom and lectures instilling
good manners and a righteous way of life
could best be given children in verse form.
12 Judith St. John, The Osborne Collection of Early
Children’s Books 1566-1910. Toronto: Toronto Pub-
lic Library, 1958.
44
Children's Books of Today, Yesterday, and Tomorrow - 45
Their recognition of the child’s delight in
rhythm and rhyme was a step toward a lit-
erature for children. Assuming that children
would be interested in any rhyme, several
poets wrote for children. This trend was ex-
emplified by the eight pages of rhymed coup-
lets describing the wares of the peddler-au-
thor, Thomas Newbery, entitled, A Booke in
Englyssh Metre, of the great Marchante Man
called Dives Pragmaticus, very preaty for
children to reade (1563) . John Bunyan gave
emblematic lessons in his verses about every-
day objects and nature, A Book for Boys and
Girls or Country Rhymes for Children
(1696) . The emblem books provided ex-
amples of the good and dutiful life through
symbols:
This bee an Emblem truly is of Sin,
Whose Sweet unto many a Death hath been.
Facsimile frontispiece of the original manuscript of
Perrault’s Tales of Mother Goose. Pierpont Morgan
Library.
A 1679 title reflects the purpose of such
books, The Prodigal Son Sifted, or the lewd
life and lamentable end of extravagant per-
sons emblematically set forth, for a warning
to unexperienced youth .
MOTHER GOOSE
There is reassurance in the knowledge that
children who experienced the hardships of
colonial life had access to the nonsense and
gaiety of Mother Goose.
The history of these verses has been ob-
scured by legends, and not a particle of the
original editions has remained for later study
by historians because, in their eagerness to
enjoy the verses, children reduced them to
shreds.
The Mother Goose verses apparently origi-
nated in the spoken language of the common
folk and royalty. It is believed that many of
the verses were written as political satires or
told of royal tragedy. Some have been traced
into the pre-Christian era. “Pussycat, Pussy-
cat,” for example, was based upon an inci-
dent in Queen Elizabeth’s court. “Three
Wise Men of Gotham” reflects stories of the
foolish inhabitants of Gotham before the
days of King John. Some writers hold the
theory that “Jack and Jill” refers to the wax-
ing and waning of the moon. Thomas 13 cites
the account of a deed in the possession of a
Horner family signed by Henry VIII which
was a “plum” pulled out of the pie — the
King's collection of deeds. However, other
scholars 14 have found little evidence of these
relationships.
The name of Mother Goose was first asso-
ciated with folk tales rather than the verses
known today. In 1697 Charles Perrault pub-
lished in France a collection of nursery tales
which included “Cinderella,” “Red Riding
Hood,” “Puss in Boots,” and “Sleeping
Beauty.” The frontispiece of this book. His-
tories Ou Contes du Temps passe, showed
an old woman spinning and telling stories
to children. The caption read, Contes de ma
Katherine Elwes Thomas, The Real Personages
of Mother Goose. New York: Lathrop, 1930.
14 Iona and Peter Opie, The Oxford Nursery Rhyme
Book. London: The Oxford University Press, 1952.
46 - Meeting Books and Children
Mere l'Oye, (Tales of Mother Goose). Ac-
cording to French legend, Bertha, wife of
Robert II of France was called goose-footed,
and she was known to spin and to tell stories
to childen; perhaps there was some relation-
ship. These tales were brought to England
and translated about 1729.
While the Revolutionary War was in prog-
ress, an American publisher, Isaiah Thomas,
somehow obtained Newbery’s books for chil-
dren. These smuggled books were reprinted
with few changes; thus Mother Goose, Goody
Two Shoes, and Robinson Crusoe became
available for children of the new country.
No copies of this 1785 edition of Mother
Goose are now extant, but a reproduction by
W. H. Whitmore was published in 1889.
The legend that Dame Goose is buried in
Boston is kept alive for tourists and children
who visit the Boston burying ground, but it
has created confusion regarding the origin
of the verses. Even the publication of Songs
for the Nursery ; or Mother Goose’s Melodies
by the son-in-law of Dame Goose has become
a legend. According to the story, Thomas
Fleet tired of the good woman’s frequent ren-
ditions of the ditties as she cared for his chil-
dren, so he decided to collect and publish
them. There has been no actual evidence of
this 1719 edition.
Rhymes from the collection of Isaiah
Thomas as well as other verses printed for
the first time were included in the Munro
and Francis edition of Mother Goose pub-
lished about 1827.
FOLK TALES AND ADVENTURE
Handed down by word of mouth for cen-
turies, folk tales were among the first types of
literature to be printed. It is difficult to find
the point at which they were considered suit-
able only for the young. In France, Charles
Perrault recorded eight fairy tales for adults
at court. Puss in Boots, Sleeping Beauty, Cin-
derella, and Little Red Riding Hood were
included. For the first time, tales were writ-
ten down so children, too, could hear them
over and over in exactly the same words.
The Arabian Nights is another collection
of old tales which came from India, Persia
and North Africa. Galland published these
tales in 1704 and it appears they were avail-
able in English translation in 1712. Ridley
also published a series of tales modeled after
the Arabian Nights under the title, The
Tales of the Genii, (1766) .
In the first half of the seventeenth century
stories of St. George, St. Patrick and other
knights were roughly printed on 12" x 18"
sheets. Also, small gilt books were popular
with children and adults. For example, The
History of Cajanus, The Swedish Giant, was
printed in 1742 on x 214 sheets and
bound in floral Dutch gilt boards.
Defoe did not write his account of the
eighteenth-century hero, Robinson Crusoe,
for children, but they made his story part of
their literature. The Life and Strange and
Surprising Adventures of Robinson Crusoe
(1719) was later printed in an abridged and
pocket-sized volume which became a “classic”
of children’s literature. Gulliver’s Travels
was a scathing satire of high society, yet
young and old alike enjoyed this tale pub-
lished in 1726. Perhaps children recognized
themselves as dwarfs or giants. The forerun-
ner of the modern superman may be identi-
fied in the stories of Tommy Trip written by
John Newbery in 1750. In one story. Tommy
Trip, the size of Tom Thumb, challenges
and defeats a giant who tormented a child.
NEWBERY PUBLISHES FOR CHILDREN
Although there was strong emphasis upon
religious literature, it is apparent that the
colonists and their children enjoyed the chap-
books. These little books of sixteen, thirty-
two or sixty-four pages were small, folded
booklets which might be compared to mod-
ern comics. Ballads about Guy of Warwick,
Bevis of Southhampton, and Robin Hood
brought adventure to drab lives. Although
children took these books for their own, it
was not until 1744 that John Newbery pub-
lished a book especially designed for chil-
dren. The title page notes, A Little Pretty
Pocketbook, “Intended for the Instruction
and Amusement of Little Master Tommy
Children's Books of Today , Yesterday , and Tomorrow - 47
and Pretty Miss Polly, with an agreeable
Letter to read from Jack the Giant Killer, as
also a Ball and a Pincushion, the use of which
will infallibly make Tommy a good Boy, and
Polly a good Girl." The advertisement in his
shop, The Bible and Sun, said, "The books
are to be given away, only the binding is to
be paid for." For parents the book included
Locke’s advice on children.
No documentary evidence is available to
determine whether John Newbery or Oliver
Goldsmith wrote The History of Little
Goody Two Shoes, published by Newbery in
1766. In this story of righteousness, Margery
Meanwell, turned out of her own home by a
grasping villain, becomes a teacher who mor-
alizes as she teaches children to read. Even-
tually, she married a rich gentleman and car-
ried on her good works.
Newbery’s books emphasized love rather
than the wrath and punishment of God. The
gilt paper covers of his books were small and
gay, but the moral lessons were still plain to
the young readers who came to this first ju-
venile bookstore operated by Newbery from
1745 to 1767.
INSTRUCTION
With the invention of the horn book, English
and Colonial children were able to handle
their own books. A sheet of paper printed
with the alphabet, vowels, the Lord’s prayer,
and Roman numerals was fastened to a small
board about 2 y 4 " by 5". The parchment was
covered with transparent horn and bound
with strips of brass. A hole in the handle made
it possible for the child to carry it on a cord
around his neck or waist. Colonial children
learned to read from the Horn Book. The
colonists marked out the "criscross row," for
they did not approve the symbol of the cross
which was often placed on the hornbook just
preceding the alphabet.
Shortly after the middle of the eighteenth
century the battledore was developed. This
consisted of a cardboard folded with three
leaves. There were no religious teachings,
but alphabets, numerals, easy reading lessons,
and woodcuts of animals were included.
I>- he hi ho
ca ic ci co cu y
da tie di do du j
aeio
«abcdef(;hi|ki mnopqSi
jcRSTUVWXYZ
aetou 1 aeiou >jfc r
ab cb ib oh uh
Igac ec tc oc tu.
£?ad cd id od ud (
f in the Name of the Father and of the
Son, tad of the Holy Ghoft. Amen .
/^\UR Father, which art in
L ^ Heaven, hallowed be thy
$ Name; thy Kingdom come, thy
^ Will be done on Earth, as it is in
^Heaven. Give us this Day our
^ daily Bread; and forgive us our
{Trefpaffes, as we forgive them
jthat trefpafs againft us ; And
)lead us not into Temptation, but
^deliver us from Evil. Amen.
Facsimile of a colonial horn book.
Probably these were the first books of pic-
tures which could be handled by children
themselves. Battledores were still being used
in the nineteenth century.
All children were expected to memorize
John Cotton’s catechism, Spiritual Milk for
Boston Babes in either England , drawn from
the Breasts of both Testaments for their
Souls nourishment . Originally published in
England in 1646, it was revised for American
children, and was the first book written and
printed for children in America. Later books
followed its question and answer approach
with such questions as, “How did God make
you?" The accompanying answer, “I was con-
ceived in sin and born in iniquity" was mem-
orized by the child. Even alphabet rhymes
48 - Meeting Books and Children
ibcdefghijklmp
nopqrstuv
w x y z &
c*
$
ABCDEFGHI
JKLMNOPQ
HSTU VW
X Y Z
ar.
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Facsimiles of cardboard battledores.
for the youngest emphasized the sinful nature
of man. For example, the New England
Primer , first recorded in 1683, includes, “In
Adam’s fall We sinned all.’’ The rhyming al-
phabet did change with the times. For exam-
ple, “The Judgment made Felix afraid’’ was
used instead of “The idle Fool is whipt at
school.” This primer also included a cate-
chism, The Ten Commandments and verses
about death. The 1781 edition included the
prayer, “Now I Lay Me Down to Sleep.” Ap-
proximately three million copies of this
primer were sold.
The alphabet and lists of syllables were
published in Stephen Crisp’s book for chil-
dren, A New Book for Children to Learn On.
(1681) . Syllables were divided as follows:
A So ber Child hath
E-steem a-mongst the Wise.
Early in the eighteenth century, James
Janeway’s book A Token for Children, Being
an Exact Account of the Conversion, Holy ,
and Exemplary Lives and Joyful Deaths of
Several Young Children , was published in
England. Before it was printed in America,
Cotton Mather added life histories of New
England children and their early deaths.
Children were taught to describe their con-
version, to practice secret prayer, to express
duty to God and their neighbors. They were
exhorted to search their hearts and ask
“What is my corrupt nature?”
In the latter half of the seventeenth cen-
Children's Books of Today , Yesterday, and Tomorrow - 49
tury informational books were published.
One of the first geographies appeared in
1665. The author, Henry Winstanly, consid-
ered California a South Sea island and noted
that Virginia lay directly south of New Eng-
land, but his book titled All the Principal
Nations of the World Presented in their
Habits of Fashions of Dressing . . . was a mile-
stone leading to modern travel and informa-
tional books.
In the first part of the eighteenth century,
several “science” books were published. Isaac
Watts presented The Knowledge of the Heav-
ens and The Earth Made Easy, or the First
Principles of Geography and Astronomy Ex-
plained (1726). Ten years later, Thomas
Breman introduced the idea that learning
should be fun in his title, A Description of a
Great Variety of Animals and Vegetables
. . . especially for the Entertainment of
Youth. In America, Isaiah Thomas reprinted
books pirated from England, including Jack
Dandy’ s Delight: or The Histoiy of Birds and
Beasts, a juvenile natural history. John New-
bery printed The Circle of the Sciences
(1745) , Tommy Trip's History of Beasts and
Birds (1779) , and Juvenile Rambles (1786) .
Mrs. Sarah Trimmer, anxious to give chil-
dren information in an interesting manner,
wrote several books weaving information into
converations. Her Fabulous Histories (1786)
told of the Robin family who discussed na-
ture in lengthy dialogues. At the same time,
the family life of birds provided opportunity
for many lessons of conduct.
Religious history had been part of the fare
for children before the eighteenth century —
many read descriptions of the horrors in
John Foxe’s Book of Martyrs written in
1563. Nathaniel Crouch edited The Young
Man's Calling, a collection of stories for
youth which included engravings of behead-
ings, burnings of martyrs, and information
for proper behavior. The Apprentice's Com-
panion, published in 1681, gave suggestions
for diligent application to work.
After the Revolution, several distinctly
American histories appeared. In the 1795
book, The History of America, six woodcuts
were used over and over (the same woodcut
was used for Christopher Columbus and Gen-
eral Montgomery) . Cooper's History of
America abridged for the Use of Children of
All Denominations appeared in 1795.
Textbooks for subject matter areas were in-
troduced to the American schools near the
end of the eighteenth century. Noah Web-
ster’s Blue Backed Speller, Simplified and
Standardized American Spelling, published
in 1783, was used widely for spelling bees.
Webster’s Third Part of the series, published
in 1785, was the first secular reader. In 1789
Jedediah Morse introduced the first Ameri-
can geography with his American Univer-
sal Geography. Nicholas Pike's Arithmetic
(1793) and Root’s Introduction to Arith-
metic (1796) were two of the first arithmetic
texts. The influence of the rising commercial
classes made such textbooks necessary. Con-
Woodcuts illustrate an alphabet page in New Eng-
land Primer.
He that neer learns' his A, B,
For ever will a Blockhead be
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50 - Meeting Books and Children
sequently these textbooks constituted a major
portion of the literature for children during
the period.
DIDACTIC TALES
In the last half of the eighteenth century,
women writers entered the field of juvenile
literature with the purpose of teaching
through stories. Sarah Fielding wove stories
around the development of character in girls
in Mrs. Teachem’s School for Girls. Easy
Lessons for Children, published in 1760 by
Mrs. Barbaukl, presented lessons for chil-
dren of different ages. Mrs. Sarah Trimmer
apparently agreed with Locke who had ap-
proved of using fables with children, for she
created a family of robins who could talk of
problems in day to day family life. Meigs
quotes a sample of the conversation, “I am
delighted, my dear children, with your hu-
mane behavior toward the animal creation
. . . but though it is a most commendable
propensity, it requires regulation.” 15 (One
wonders about reading vocabularies of these
children in contrast to the “controlled vocab-
ulary” now considered so important in read-
ers for children.)
As the eighteenth century drew to a close,
the influence of Rousseau was felt in chil-
dren’s literature. Following Rousseau’s theory
of accompanying the child in his natural
search for knowledge, parents, relatives, or
teachers were always at hand to seize upon
every comment made by a child or to call at-
tention to objects of interest so that the inci-
dent might be used as a means of instruction.
Books were frequently written in this man-
ner, containing dialogues and conversations.
Instead of long lists of rules, the lessons were
now concealed in didactic tales and juvenile
biographies. Many parents wrote autobiog-
raphies, or instructions to be read after the
death of a parent. Christopher Wonderford’s
Book of Instructions, (1777) was an example
of one of these testimonies left for children.
Thomas Day utilized the conversational
approach in writing one of the didactic tales
which appeared in three sections, (1783,
35 Meigs, op. cit., p. 78.
1786, and 1789). The History of Sandford
and Merton tells of two six-year-old boys who
were tutored together, although Harry was
the son of a farmer. It was Harry who exem-
plified the just and righteous for the spoiled
Tommy Merton. Day after day, lecture after
lecture, the tutor taught the boys in long les-
sons which interrupted the narrative. These
priggish children were models of behavior for
nearly one hundred years.
POETRY
Poetry for children in this period also em-
phasized religion and instruction. Although
Isaac Watts spent most of his time writing
hymns, he did devote some of his energy to
writing poetry for children. Divine Songs At-
tempted i n Easy Language for the use of
Children (1715) made religious instruction
more pleasant for children.
Play was still seen as an occasion for mis-
chief during which time children might come
under the influence of Satan. In 1785 chil
dren were told to use play as a time for intro-
spection. The verses in A Present to Children
suggested thoughts for play:
Now on the Ice I shape the Slide,
And smoothly O’er the Surface glide,
I learn amidst the slipp’ry Play
Most dangerous is the easiest way.
About 1750 John Newbery set up his “ju-
venile library” of small books with fine bind-
ings and gilt edges. He printed Pretty Poems
for Children Three Feet High and added the
inscription, “To all those who are good this
book is dedicated by their best friend.”
An engraver and artist, William Blake,
wrote poetry which children enjoyed, but the
poems of Songs of Innocence, 1789, were not
specifically written for children. For the first
time, imagination and joy became important
ingredients of literature for children. The
poet made the reader aware of beauty with-
out preaching.
One artist emerged during this period as
an illustrator of books for boys and girls.
Thomas Bewick’s woodcuts for A Pretty
Children’s Books of Today , Yesterday, and Tomorrow - 51
Book of Pictures for Little Masters and
Misses: or Tommy Trip's Histoiy of Beasts
and Birds , (1767) were interesting and of ex-
cellent workmanship. His son, John Bewick,
also illustrated many books for children near
the close of the eighteenth century.
As this century terminated, children were
reading stories mainly about how to live the
good life. Information about the natural
world was peddled in didactic lectures sugar-
coated with a conversational style. Little
prigs were models for young people to fol-
low. But, nevertheless, there was now a litera-
ture for children. Authors and publishers
were aware of a new market for books. Par-
ents and teachers were beginning to recog-
nize the importance of literature for children.
Children’s Literature: Nineteenth Century
BACKGROUND
The nineteenth century brought tremendous
changes to America as it became a powerful
nation. The Industrial Revolution, use of
agricultural machinery, improved communi-
cation and transportation through tele-
graph, canals, railroads brought technological
changes which influenced man’s values and
attitudes. The Westward Movement in-
creased emphasis upon individualism, and a
growing nationalism emphasized freedom
and enlightenment for all peoples. Education
came to be viewed as a natural right for all
children. With the influx ol immigrants, the
school became the institution to mold new
Americans. In science there was emphasis
upon fact-finding and classified knowledge.
The study of human behavior was beginning
to be considered a science as Wundt, James,
and G. Stanley Hall observed and recorded
human behavior. This led to more emphasis
on life in the present. With Darwin’s work in
biological evolution and the findings of La-
Place and other astronomers, the world and
its life were increasingly viewed as products
of natural forces. However, the basic school
texts continued to reflect the view of God’s
will influencing all of life. Transcendental-
ism pushed even further the idea of non-
sectarian religion; it was deemed possible to
be a good citizen yet not a member of a re-
ligious sect.
In the last three decades of the century,
teaching children through objects in nature
was emphasized. Experimental schools were
based upon the idea of the child as the center
ol the school curriculum. The pragmatists,
Peirce, James, and Dewey, near the end of the
century asserted that knowledge arises out of
experience and theories must be tested.
Dewey’s new philosophy held that education
was a social process; the child’s interests were
significant and should be channeled; think-
ing was viewed as problem solving. These
ideas were in the growing stages; neither
schools nor books had actually changed very
much, but there was a wonderful, optimistic,
expanding feeling — a young nation progress-
ing. Art and music reflected classical tradi-
tions. Realism in art was emphasized, al-
though the Impressionists were beginning to
create new styles of painting.
These changes of the nineteenth century
were slowly reflected in books for children.
Libraries were established; the Sunday School
Movement led to distribution of tracts and
books. The didactic stories preaching good
behavior continued to be of major impor-
tance during this period, but books were
written with a child audience in mind. The
school curriculum was broadened to include
natural science, history, geography, and citi-
zenship training. Science and technology
made it possible to write ol travel in far
places. A growing nationalism led to books
of American history and geography. Pioneer
adventures and stories of the War of 1812 and
the Civil War provided exciting plots for
boys. The emphasis upon individual rights
and freedom for all seemed to influence atti-
tudes toward children. Conditions created a
climate in which a son’s opinions were as
valid as his father's.
Children were considered individuals with
unique rights. The attitudes toward religion
gave way to secularism and to recognition of
play as an acceptable part of child life. Each
type of book reflected these social, political
and economic changes. By the end of the cen-
52 - Meeting Books and Children
i hi
INTERESTING HISTORY
OF
LITTLE JACK.
& SttU'JMJL »<UUI.
EMBELLISHED M ITU
SI.VIUVL NEVT INGRAVINfis ON \\on|».
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I 1
The frontispiece and title page of this 1821 book illustrate the preoccupation of children’s
literature with death. From The Osborne Collection of Early Children s Books , 1566-
1910. Toronto Public Library, 1958.
tury there was a growing body of literature
expressly written for children.
BOOKS OF RELIGION AND MORALS
In the first half of the nineteenth century the
didactic school of writing for children flour-
ished as women writers wielded influential
pens. They condemned fairy stories and pro-
vided information in lengthy dialogues be-
tween parent and child or tutor and child.
Information was relentlessly dispensed. Mar-
tha Sherwood, a prolific writer, produced
about 350 moralizing books and tracts. While
living in India she wrote The History of
Little Henry and His Bearer. (1814) The
story of little Henry’s conversion illustrates
her missionary theme. St. John notes that the
advertisement of a later edition read, “Up-
wards of two hundred and fifty thousand
copies have been sold . .” 16
ia St. John, op. cit. f p. 300.
Mrs. Mary Sherwood wrote a series of
stories about The Fairchild Family , begin-
ning in 1812. It opens with a funeral, as
many of the tales of that period were wont to
begin. The religious tone is still present, and
moral lessons are provided through stilted
dialogue. For example, one evening Papa
tells about the globe. After a long discourse,
Lucy asks, “Papa may we have some verses
about mankind having evil hearts?” Each
child then quotes scripture. Little Henry ex-
claims, “Oh, I wish I could love the Lord
Jesus Christ more than I do; but my wicked
heart will not let me.” In another part of one
of the early editions, Mr. Fairchild takes the
children to see the body of a man who had
been hanged for the murder of his brother.
Mrs. Sherwood also wrote of taking children
to visit a dying farmer boy. The lad had pre-
pared for his approaching death by inspect-
ing the family vault and visiting the ceme-
Children's Books of Today, Yesterday, and Tomorrow - 53
tery. In these ways children were urged to
prepare for death.
Biographies of pious children who died
and went to heaven were favorites in the
early nineteenth century. A collection of
such biographies by Mary Pilkington was
titled Biography for Girls: or Moral and In-
structive Examples for the Female Sex.
The horrible-example technique was also
employed by some writers for children. In
one book published near the end of the eight-
eenth century, children were given animal
bodies as “Jacky Idle turned into the body of
an Ass," "Master Greedyguts into a Pig," and
"Miss Dorothy Chatterfast became a Mag-
pie."
John Locke’s essays on education had wide
influence on children’s literature. He sug-
gested combining learning and pleasure, rec-
ommended the use of fables, and encouraged
use of illustrations. At the same time, he
urged educators and parents to set a good
example for children. These influences may
be seen in Maria Edgeworth’s Easy Lessons
which contained examples of children who
always obeyed their parents. Maria Edge-
worth was determined to educate young read-
ers, but she did add suspense to her stories.
Usually a gracious lady or nobleman ap-
peared to make an award or point out a
moral. The Parent* s Assistant: or Stories for
Children (1796) included "The Purple Jar,"
"Waste Not, Want Not," and "Lazy Law-
rence." In this series of essays she incorpo-
rated the story of Rosamund and the Purple
Jar. Little Rosamund learns that a purple
jar she desires instead of new shoes is only a
clear glass bottle colored by the bad smelling
liquid it contains; Rosamund hopes she has
learned a lesson. (And what lesson did the
child who read the story learn? Did he learn
to look in colored jars, or to choose shoes in-
stead of bright baubles?)
There was a trend during the early part of
the century to exhort parents to set examples
of good behavior. Humanitarians were be-
ginning to assert that children went astray
because they did not receive enough love.
However, the writers reflected rigid attitudes
toward youthful misdemeanors. In My
Teacher’s Gem, a collection of moralistic
stories, the dire results of stealing a bird's
nest are righteously pronounced:
CRUEL BOYS
“O, what a shame!" a kind child may be ready
to say on looking at this picture. You see these
boys, little as they are, have hard and cruel hearts.
They have been robbing a happy little bird fam-
ily of one of the young ones; and now they will so
hurt it that it will die, or they will let it starve
to death. And they have robbed another pair of
birds of their nest and eggs. How unhappy must
all these birds now be! and how wicked it is to
give such needless pain to any of God's creatures!
No kind child can think of hurting a dear, inno-
cent little bird. But those who delight in such
sport will very likely grow up to be capable of in-
juring their fellow-men in the various ways of
which we so often hear and read. Let us be kind
to every thing that lives.
And this isn’t the whole story about these
wicked boys. Don’t you see they are in a quarrel,
how they shall divide what they have so cruelly
stolen from the poor birds? Ah, that is the way in
doing wrong — one wrong step leads on to an-
other; and robbing birds’ nests does not usually go
alone — a quarrel, or some other wickedness, usu-
ally follows it. Beware, then of the beginnings of
cruelty and wickedness . 17
BOOKS OF INSTRUCTION
By 1800 the New England Primer reflected
the changing social purposes and interests of
the new nation. The alphabet became less
pious:
A was an angler and fished with a hook
B was a Blockhead and ne’er learned his book.
A picture of George Washington was substi-
tuted for the woodcut of George III. Adap-
tations of the Primer were made by several
educators. “A Mother" added space and large
print for Lessons for Children from Two to
Four Years Old. Another revision included
such little stories as:
Bring the tea things. Bring the little boy's milk.
Where is the bread and butter? Little boys do not
eat butter. Sop the bread in your tea.
17 Asa Bullard, Sunnybank Stories: My Teacher's
Gem. Boston: Lee and Shepard, 1863. pp. 22-24.
54 - Meeting Books and Children
The illustrations were crude, and size was of
little importance. In Mathew Carey’s 1813
edition of The American Primer for example,
the illustration of a mouse was the same size
as that of a horse.
Renewed interest in Latin and grammar
was reflected in Nathan Bailey’s book, Eng-
lish and Latine , which was used for several
decades. Thomas Dilworth’s New Guide to
the English Tongue, 1740, listed words from
one syllable, such as ox, to words of six sylla-
bles, such as Mesopotamia. The new emphasis
upon trade was reflected in the title of a book
by Thomas Mortimer, A Grammar Illustrat-
ing the principles of trade and commerce;
for the use of young persons intended for
business (1810).
Rhymes to help children learn the multi-
plication tables were presented in Marma-
duke Multiples Merry Method of Making
Minor Mathematicians by Harris in 1816.
The Multiplication Table , in verse, printed
in 1819 included this verse:
Twice one are two sweet little cats
One black, the other gray,
Twice two are four as pretty mice
That from them ran away. 18
Nonsense about parts of speech and punc-
tuation was the basis for Punctuation Per-
sonified, , Mr. Stop who was shown in accom-
panying illustrations, told the reader how to
use punctuation marks.
Reading for patriotism, good citizenship,
and industry was the purpose of the well-
loved Eclectic Readers by William H. Mc-
Guffey. They were used so widely from 1834
to 1900 one could almost say these readers
comprised the elementary curriculum in lit-
erature.
The College Entrance Examination Board
established lists of “classics.” By 1890 a pat-
tern of four classics per year was accepted.
Lady of the Lake, Courtship of Miles Stand-
ish, and House of Seven Gables were among
those listed. v
Although compulsory education was being
18 St. John, op. cit., p. 131.
extended, and the publicly supported com-
mon school was being established, parents
were also expected to teach children at home.
The parent’s role was established through
stories in which mothers embroidered, sipped
tea, and dispensed information to sweet chil-
dren. The following conversation was in A
Key to Knowledge published in 1822:
Louisa — By the by, when I come to think of it,
what a dirty thing honey is; first swallowed by
bees, and then by us.
Mother — Your description is certainly not very in-
viting. Suppose rather that we should call the
honey, the syrup of flowers, drawn from the
opened buds by the trunk, or proboscis, of the
industrious bee.
Louisa — Now I like honey again. But Mamma, if
honey is the juice of flowers, what then is wax?
Mother — Wax has been determined by an atten-
tive naturalist (Reamer) to be the farina, or
pollen of flowers .... But we have done tea,
and must now begin our evening amusements.
Louisa — Mamma, we have been already delight-
fully amused. 19
In the early nineteenth century, nature
study and contemplation of the universe was
encouraged to develop an admiration of
God’s works. In this period, Samuel Goodrich
was chiefly responsible for eliminating the
British background in books for American
children. History, geography and science
were included in his Tales of Peter Parley
about America (1827) . As Goodrich tried to
satisfy children’s curiosity in an 1 839 edition
of Peter Parley's Farewell, the idea of a series
of informative books was initiated. Peter
Parley told tales of Europe and Africa and of
the Sun, Moon, and Stars. Isaac Taylor wrote
a series of Scenes “for little tarry-at-home
travellers.” Scenes in Africa, was printed in
1820 while Scenes of Commerce, by Land or
Sea; or, “Where Does It Come from V' an-
swered was published ten years later. Jacob
Abbott also followed this plan as he wrote
about Rollo learning to talk, Rollo learning
to read, and of Rollo’s travels to Europe. In
the first books published in 1834, Rollo was
quite a natural little boy, but as he became
19 “19th Century Juvenilia,” Times Educational
Supplement 2262:1412, September 26, 1958.
Children's Books of Today , Yesterday , and Tomorrow - 55
older and traveled about the world he be-
came another little prig. The Bodley Family,
conceived by Horace Scudder, explored New
England, Holland, and other countries
(1857) . History and folklore were combined
with geography in Hezekiah Butterworth’s
1880 series of Zig-Zag Journeys in Europe . In
Seven Little Sisters Who Live on the Big
Round Ball that Floats in the Air (1861),
Jane Andrews told of little girls who lived in
the far north, in the desert, in China, and in
Switzerland. Through a dramatic family
story, Hans Brinker, or the Silver Skates,
Mary Mapes Dodge gave accurate glimpses
of Dutch life in 1865. The skating race is
actually less important than the daring brain
surgery performed on father Brinker, who
had been nearly an idiot for several years
after an accident. The bravery and courage
of Hans and his sister in facing poverty,
scorn, and their father’s illness provided fur-
ther examples for child behavior. To make
another country seem real, Johanna Spyri
wrote Heidi in 1884. Not only did readers
share the joys and sorrows in Heidi’s life;
they “breathed” the clear mountain air and
“lived” in Switzerland.
Problems of war, temperance, and anti-
slavery were topics in histories in the first
half of the nineteenth century. Samuel Wood
discussed the miseries of the world as he gave
information in The Seven Wonders of the
World (1814). Biographies of churchmen
published by the American Tract Society
gave children some historical background.
Thomas Higginson’s A Young Folk's History
of the United States (1875) marks the begin-
ning of history writing for American chil-
dren. Civil War battles were described by
Charles Coffin in Boys of '76 and Boys of '61.
In 1880, George Henty wrote a military his-
tory for boys, The Young Buglers . History in
the form of biographies was written by
George Towle in an 1883 publication,
Young Folk's Heroes of History . Ten Boys
Who Lived on the Road from Long Ago to
Now by Jane Andrews gave young readers in-
formation about Puritans, Horatius and
other heroes (1886) .
Most of the science books were about
flowers and gardens. Mrs. Margaret Gatty's
Parables from Nature, Worlds Not Realized,
gave accurate information as well as moral
instruction. One writer who did not “write
down” to children was Mrs. Ewing, who pub-
lished a series of nature lessons under the
title Mary's Meadow (1886) . Astronomy also
was written for young people. In 1805 The
Wonders of the Telescope ; or A display of
the wonders of the heavens and of the sys-
tem of the universe, written in a familiar and
popular manner, adapted particularly to the
perusal of young persons, and especially cal-
culated to promote and simplify the study of
astronomy among persons of all ages, with
twelve plates, on a plan never before at-
tempted.
Through the years only a few writers and
publishers seemed to realize that children
want to learn about their world. Children
had to plod through pages of tiresome con-
versations with moralistic overtones to gain
the information they sought. It was not until
much later that informational books on al-
most every subject were placed on book-
shelves for boys and girls.
FOLK TALE COLLECTIONS
Although they were not folk tales, the re-
written Tales from Shakespeare published by
Charles and Mary Lamb in 1810 introduced
the trend to collect and write tales for
children.
Early in the nineteenth century, two Ger-
man brothers went about asking servants and
peasants to recall stories they had heard. In
1812, Jacob and Wilhelm Grimm published
the first volume of Kinder-und Hausmauchen
(Household Stories). These serious scholars
tried to preserve the form as well as the
content of the old tales. They were trans-
lated and published in England by Edgar
Taylor in 1823-1826. “The Elves and the
Shoemaker,” “Rumplestiltskin,” and “Snow
.White,” in addition to many others, became
part of the literature of childhood.
In America, Washington Irving included
Rip Van Winkle and the Legend of Sleepy
56 - Meeting Books and Children
Hollow in the 1819 Sketch Book . These tales,
written mainly for adults, were enjoyed by
older children.
The origin of The Three Bears has been
questioned by various authorities. Meigs
notes it was published in Robert Southey’s
Doctor, 1834-1837. Muir reports there is
some evidence it was written by an anony-
mous author in 1831 and retold by Southey.
In 1846 Mary Howitt translated a book of
tales called Wonderful Stories for Children .
Hans Christian Andersen came to England
and America through the pages of this book,
and children were enthralled by “The Tin-
der Box,” “The Princess and the Pea,” and
“The Ugly Duckling.” In these stories in-
animate objects and animals come alive.
In the last half of the nineteenth century,
folk tales and fairy tales were given a new
place in children’s literature. John Ruskin’s
King of the Golden River (1851) had a
moral, but the exciting and dramatic tale
was enjoyed by younger readers. Charles
Dickens’ The Magic Fishbone was written as
a serial in 1868. The Wonderbook for Boys
and Girls was published by Nathaniel Haw-
thorne in 1852 and was followed by Tangle-
wood Tales in 1853. Sir George Dasent trans-
lated Popular Tales from the North in 1859
making it possible for children to enjoy
more tales from Scandinavia. The N umber g
Stove was another favorite, first published by
Louise de la Ramee in a collection of chil-
dren’s stories in 1882. George MacDonald
created another fairyland in At the Back of
the Northwind in 1871. Joel Chandler Harris
collected stories from the South for Uncle
Remus, His Songs and Sayings (1881).
Collections of folktales were made by An-
drew Lang in his famous series beginning
with The Blue Fairy Book. The Red, Green,
and the Yellow fairy books followed the 1889
publication of the first volume of folklore.
Joseph Jacobs was also interested in retelling
folk tales for children. English Fairy Tales
(1892), Celtic Fairy Tales (1893), and In-
dian Fairy Tales (1892) were important con-
tributions to the realm of folklore. As the
merits of folklore were recognized every-
where, there was increasing interest in such
volumes as Howard Pyle’s Pepper and Salt
(1886) and Wonder Clock (1888) .
STORIES OF ADVENTURE
The pioneer spirit sought stories of adven-
ture. Swiss Family Robinson by J. H. Wyss
was translated in 1814, bringing excitement
to many children. In America, daily life was
full of adventure as conceived by children
today. A few writers recognized the value of
recording some of the incidents and also
realized the growing demand for such litera-
ture. Although written for adults, The Last
of the Mohicans, by James Fenimore Cooper
interested children when it was published in
1826. Its bloody incidents and tragedy gave
tingling adventure. Captain Frederick Marry-
at began a series of sea adventures with Ad-
ventures of a Naval Officer; or, Frank Mild-
may in 1829. Mr. Midshipman Easy and
Masterman Ready were juvenile adventures
which followed in 1836 and 1844. Robert
Ballantyne began his series of nearly eighty
books with an account of his experiences as
a fur trader, The Young Fur Trader (1856) .
Ballantyne was a writer for boys who related
exciting stories based upon events in the
world. The Battery and the Boiler; or Ad-
ventures in the Laying of Submarine Electric
Cables would have been of great interest to
boys in 1883. Boy readers also found adven-
ture in W. H. G. Kingston’s Peter the Whaler
and in the short stories in Kingston's Maga-
zine for Boys.
Ragged Dick (1867) was the first of the
series of stories by Horatio Alger. Over a hun-
dred of these stories of triumph over diffi-
culties in the climb from rags to riches were
published by this American writer. Charac-
ter building was included in The Elm Island
series by Elijah Kellogg who wrote of pi-
oneers and fishermen.
The beginning of science fiction and ad-
venture can surely be found in Jules Verne’s
Twenty Thousand Leagues Under the Sea,
(1870) and Around the World in Eighty
Days, (1872). Modern readers may be sur-
prised to note the early dates of these books.
Children's Books of Today , Yesterday, and Tomorrow - 57
Oliver Optic was the pen name of William
Adams, a teacher who wrote such series as
The Boat Club Series (1855), The Army
and Navy Series, and The Starry Flag Series .
There were many scenes of excitement and
adventure, but Oliver's readers also learned
some geography as they traveled with the
heroes. Outward Bound told of reckless boy
sailors, but stilted speeches and the incidents
of drinking and gambling led libraries to
eliminate these books from their shelves.
Mark Twain combines realism, humor
and adventure in his classic accounts of the
Missouri boys, Tom Sawyer and Huckle-
berry Finn. Adventures of Tom Sawyer pub-
lished in 1871 was followed by Adventures
of Huckleberry Finn in 1884. The author’s
imagination and understanding made pos-
sible this realistic portrayal of American boy-
hood.
The first great school story was Tom
Brown's School Days (1885), by Thomas
Hughes. In this book, sports are of great in-
terest, and the excitement is provided in ac-
counts of team events.
Many of the series books provided adven-
ture, but the characters tended to be rather
superficial. In 1882 a serial for boys was ac-
claimed by adults as well. Treasure Island
was later published in book form in 1883.
Not only were there tense, thrilling mo-
ments; the characters were convincing and
consistently drawn.
In the latter half of the nineteenth century,
numerous series books appeared. The Little
Prudy series was written by Rebecca Clarke
under the pseudonym, Sophie May, begin-
ning in 1863. Under the name of Farquhu-
san, Martha Finley initiated the Dotty Dim-
ple series in 1867. Pools of tears were shed
over the life of this character. The books
were still in print in 1940.
The most familiar and well loved family
described in series books is probably the
March family. Written by the irrepressible
Jo, Louisa May Alcott, this series about a
warm, human family remains an American
classic. Little Women and Little Men con-
tinue to be the favorites of the series. The
everyday life of a large family was chron-
icled by Margaret Sidney, pseudonym of
Harriet Lathrop, in the Five Little Peppers
Series (1883—) . This trend toward series
books continued and flourishes today.
ANIMAL STORIES
A Dog of Flanders (1872) by Louise de la
Ramee has been considered the first modem
dog story. Black Beauty appeared in 1877 as
a protest against cruel treatment of horses.
Children even today enjoy Anna Sewell's
rather overdrawn and sentimental tale.
Ernest Thompson Se ton’s sketches added
much to the children’s enjoyment of Wild
Animals I have Known (1898). This book
with “personal” histories of animals was a
forerunner of the modern books written
about one animal.
BOOKS OF HUMOR AND FANTASY
Although many of the early titles of books
for children included the word “amusing,”
or were designed in a measure for the enter-
tainment of children, the main purpose was
to instruct or to moralize. Few books brought
humor or nonsense to their lives before the
middle of the eighteenth century. Undoubt-
edly they enjoyed the broad humor in some
of the folk tales and the nonsense in Mother
Goose.
Just to amuse children, John Harris (in
1805) presented Old Mother Hubbard . Most
of the literature, however, was as bare of
humor as her cupboard. Fantastic verse and
brightly colored pictures were introduced in
1807 with The Butterfly's Ball and the Grass-
hopper's Feast by William Roscoe. In 1846
an author appeared who wrote verse solely to
entertain. Edw r ard Lear’s nonsense poems
brought joy to both children and adults as
they met fantastic Pobbles and Quangle
Wangles. In the 1872 volume. More Non-
sense, the owl and the pussy cat went out to
sea in their pea green boat and other impos-
sibles appeared to delight young and old
alike.
On a summer day in 1862 a professor of
mathematics, Charles Dodgson, told a story
58 - Meeting Books and Children
to three little girls at a picnic. In response to
their request that he record the story, Dodg-
son wrote Alice’s Adventures Underground
and presented it to his young friends as a
Christmas gift. At the insistence of others, he
decided to have it published. By 1864 the
artist Tenniel had completed the drawings,
and Alice's Adventures in Wonderland was
ready for the host of readers to come. Writ-
ten purely for the pleasure of children, these
books were also written for the author’s en-
joyment.
Although the Duchess tells Alice “Every-
thing’s got a moral if you can only find it,’’
there is no moral in this fantasy. Indeed,
children can appreciate her pattern of giving
good advice which she never takes. Alice in
Wonderland is a book which must be read
aloud, for it is the inflection of the voice, the
pause before the parenthetical explanation,
the tonal change for conversation which
make it fun for children. The teacher’s or li-
brarian’s enjoyment is a key, for effective
reading is essential. Alice falls and falls, talk-
ing to herself constantly. Timing of reading
and the illustrations will help them appre-
ciate her changes in size. The scenes at the
Mad Hatter’s tea party, the croquet game,
and the court scene are enjoyed more by
adults than childen for their nonsense and
play on words. For example, the phrase “was
immediately suppressed by the court’’ is ex-
plained to Alice by the action of stuffing the
guinea pig who cheered into a bag. Now she
“understood” that phrase! Her second ad-
venture occurs as she goes through the look-
ing glass to fairyland. Children who are
beginning to play chess may enjoy hearing
some of these incidents. Since all children
will not enjoy Alice, the teacher may read
it only to those who wish to listen. A brief
resume will help the literal-minded child. It
may prove interesting to compare the origi-
nal Tenniel illustrations with a modern ver-
sion by the Italian artist Maraja, for exam-
ple; the color, humor, and characterization
are delightful in this edition.
In this category of books for fun, the books
with movable parts might also be included.
Harlequinades or turn-ups, first appeared in
1766. They consisted of a page of pictures
covered with flaps which could be raised or
lowered to create other scenes. Doggerel
verse on each section told a simple story. In
“Curioser and curioser.” Tenniel’s Alice grows tall
from the neck up. From Alice in Wonderland by
Lewis Carroll. Illustrated by Tenniel, 1865.
Children's Books of Today, Yesterday , and Tomorrow - 59
1810, stories in rhyme were printed on sheets
with slots, and pockets were fastened to the
reverse side. Cut out figures could be slipped
through the slot and were held in the pocket.
A hero or heroine could appear in a number
“Goodby, feet!” Maraja’s Alice grows from the waist
down. From Alice in Wonderland by Lewis Carroll.
Illustrated by Maraja. Fratelli Fabbri Editori, n.d.
of different costumes in this way. From 1840
until about 1900 a variety of books with flaps
and movable parts was published. By pulling
tabs, various pictures appeared to illustrate
the verse or story (see p. 62) .
The early steps toward a literature for
children’s enjoyment led naturally to the de-
velopment of fantasy. Charles Kingsley's
story of Tom’s adventures with the sea crea-
tures in The Water-Babies (1863) represents
the beginning of modern fantasy. This story
of a chimney sweep who became a water baby
with gills might have amused adults but chil-
dren would have many difficulties in under-
standing the hidden meanings. Mrs. Bedone-
byasyoudid teaches her lessons:
“. . . for you must know and believe that peo-
ple’s souls make their bodies just as a snail makes
its shell (I am not joking, my little man; I am in
serious, solemn earnest) . And therefore, when
Tom’s soul grew all prickly with naughty tempers,
his body could not help growing prickly too, so
that nobody would cuddle him, or play with him,
or even like to look at him.” 20
While she was in India and homesick for
her children, Helen Bannerman wrote The
Story of Little Black Sambo (1899). In this
fantasy one absurd incident after another oc-
curs, excitement is high, and the ending is
satisfying.
BOOKS OF GAMES AND SPORTS
Essays on proper conversation, manners,
drawing, and music were included with games
in Lydia Child’s 1858 edition, The GirVs
Own Book. A Course of Geography , by means
of instructive games . . . was published by
Gaultier in 1829. It included maps and
counters for locating the places. Craft books,
too, were available. Papyroplastics, or The
art of modelling in paper; being an instruc-
tive amusement for young persons of both
sexes. Translated from the German by D.
Boileau, this edition was printed in 1825. The
preface quoted in the Osborne collection is
of interest today:
"Charles Kingsley, The Water-Babies. New York:
Platt and Peck Co., 1900. p. 149.
60 - Meeting Books and Children
Independently of the mathematical studies for
which it prepares the youthful mind, Papyroplas-
tics has the additional advantage of teaching man-
ual dexterity and the knowledge of proportions
of imparting a taste for the arts of design, and
above all, of affording a salutary antidote to that
listless indolence, that pernicious love of cards, or
that rage of indiscriminately reading any book at
random. 21
Another title which suggested fun for chil-
dren appeared about 1800, The Whim Wham;
or Evening Amusement for All Ages and
Sizes, Being an entire set of riddles, charades ,
questions and transportations, by a friend of
innocent mirth .
POETRY
In the nineteenth century a wide variety of
poetry was written for children. The Taylor
sisters, Ann and Jane, emphasized polite be-
havior in their volume published in 1804,
Original Poems for Infant Minds. Their
poems about life-like young people in every-
day life were translated and published on
the continent. Morals, death, and justice
were also pointed out in the poems, as in this
example:
You are not so healthy and gay
So young, so active and bright,
That death cannot snatch you away,
Or some dread accident smite.
Here lie both the young and the old,
Confined in the coffin so small
The earth covers over them cold,
The grave-worms devour them all.
Jane Taylor wrote the oft-parodied, “Twinkle
Twinkle Little Star" for this collection.
A professor who wrote to please his own
children was Clement Moore who gave to
children and adults the Christmas classic,
A Visit from St. Nicholas . One of the first
American contributions to a joyous litera
ture for children, it was published with this
title in 1822, but is now known as The Night
Before Christmas.
Christina Rossetti’s poetry for children is
reminiscent of Mother Goose, but she also
n St. John, op. cit., p. 224.
wrote verse which brought to children vivid
descriptions of the beauty around them. Sing
Song (1872) continues to delight young chil-
dren with such verses as:
Mix a pancake
Stir a pancake.
Pop it in the pan;
Fry the pancake,
Toss the pancake,
Catch it if you can.
Children continue to respond to:
Who has seen the wind?
Neither I nor you;
But when the leaves hang trembling
The wind is passing thro*.
Who has seen the wind?
Neither you nor I;
But when the trees bow down their heads
The wind is passing by.
In the last half of the nineteenth century,
young people were also enjoying the ballads
of William Allingham’s collection, Ballad
Book (1865) . John Greenleaf Whittier wrote
many of the fine poems of the period in his
collection, Child Life , A Collection of Poems
(1871) . Kate Greenaway is known as an il-
lustrator, but her verses were enjoyed as
much as the drawings in Under the Window
(1878) and Marigold Garden (1885).
The century ended with the appearance
of a volume of poetry for children which told
of everyday life and the child's own world as
he views it. This volume by Robert Louis
Stevenson was originally titled Penny
Whistles (1885), and later changed to A
Child's Garden of Verses. He was a poet who
could recapture a child’s imaginings for all
to enjoy. “I have a little shadow," “My bed
is like a boat," “Windy Nights," and “Good
Play" tell of fun, and bring rhythm to the
child's world.
The close of the nineteenth century found
two American poets writing for children. Eu-
gene Field’s Poems of Childhood (1896) in-
cluded “The Sugar Plum Tree" and “The
Duel." In Rhymes of Childhood (1891),
Children’s Books of Today , Yesterday, and Tomorrow - 61
James Whitcomb Riley employed dialect as
he described local incidents and Indiana farm
life. His “Little Orphant Annie" and “The
Raggedy Man" continue to be favorites.
MAGAZINES
Magazines formed a significant part of the
literature for children in the last half of the
nineteenth century. In keeping with the phi-
losophy of the time, a French teacher, Ma-
dame Leprinal de Beaumont, published a
magazine titled, Magisin des infants. Madame
Beaumont also wrote seventy books, includ-
ing Beauty and the Beast. The chapbooks
sold by peddlers in England might be con-
sidered forerunners of magazines, but they
were really books. The comic hero and ad-
venturer, Jack Harkaway, of one of the chap-
books, closely resembled the modern comic
book figure.
The first true magazine for English chil-
dren appeared in 1852 under the title, The
Charm. It was not until the 1860's that chil-
dren’s magazines gained importance. Many
of the best stories for children first appeared
in such form. Charlotte Yonge’s own stories
appeared in her magazine, The Monthly
Packet. Mrs. Gatty and Mrs. Ewing were
among the early writers who contributed to
Aunt Judy's Magazine initiated in 1868.
The first magazine really planned for chil-
dren in America was The Juvenile Miscel-
lany, 1827. This magazine emphasized Amer-
ican history and biography. Other magazines
resulted from the Sunday School movement.
Horace Scudder, editor of The Riverside
Magazine, published several of Hans Chris-
tian Andersen’s stories. He was also one of
the earliest editors to discuss selection of
books for children. The Youth’s Companion
started in 1827 and continued until 1941.
It engaged such writers as Tennyson, Glad-
stone, Kipling, Oliver Wendell* Holmes and
Mark Twain.
Mary Mapes Dodge became editor of one
of the most famous magazines for children,
St. Nicholas. Meigs writes of the editorial pol-
icy, “With the advent of St. Nicholas didac-
ticism as the chief element in reading for
children fled away forever." 22 Stories, verse,
a “How to Do and Make" section, and let-
ters from children were included in the mag-
azine until 1927. Well-known writers of chil-
dren's literature wrote for this magazine
which guided children’s reading for over half
a century.
Magazines provided new outlets for chil-
dren’s authors. It was now respectable for
children to read purely for pleasure. Juvenile
magazines of the nineteenth century made
a significant contribution to the total devel-
opment of a literature for children.
IMPROVEMENTS IN BOOK PRINTING
The printing process dates back to the sev-
enth century in China when paper was
rubbed over inked wood blocks. Today ink
is still rubbed from varied surfaces to paper.
During the nineteenth century improvements
in the printing process made possible pub-
lication of a larger quantity of books and
books of a better quality.
In 1803 a method for making paper by
machinery was invented and the process of
making paper from wood pulp was devel-
oped in 1840.
Type had been set by hand; each block was
cut and fastened in place, until the linotype
was patented in 1884. In mid-century the
cylinder type press and steam power made
printing large quantities much easier.
The student of children’s literature should
be familiar with the three basic methods of
printing. Relief printing is done by moving
the ink roller over the plate which has blocks
with letters or illustrations raised above the
surface. Only the high ridge receives ink
which can then be transferred to paper. In-
taglio printing results when designs are
scratched below the surface by using an en-
graving tool or etching with acid. The ink is
rolled on the plate, sinking into the low
areas; another roller wipes it off the higher
surface. As the paper is pressed against the
plate it absorbs the ink. The planographic
method uses a repellent on areas which are
not to be printed. Lithography is an example
Meigs, of>. rit., p. 280.
62 - Meeting Books and Children
Movable parts give a Venetian-
blind effect in this early book
for children. From Pleasant
Surprises: A Novel Mechanical
Book for the Little Ones. Circa
1880. Courtesy of P. K. Thoma-
jan Collection of Animated
Juvenilia.
of the planographic method of printing. The
artist drew directly on a porous limestone
with a grease pencil. Water was added to the
other areas. When the ink was rolled over the
stone it would adhere only to the grease.
Later, zinc or aluminum plates were used.
Today, the plate prints the design on a rub-
ber roller which applies the ink to the paper.
This offset method makes quantity printing
possible.
Another significant development in the
latter part of the nineteenth century was the
half-tone process. By taking a photograph
of the illustration through a fine screen a
series of tiny dots is created. The negative is
used to etch the plates, with lighter areas
having smaller dots and darker areas having
larger dots.
Early illustrations were made by relief de-
signs in wood cuts. To withstand the pressure
of steam presses, copper plates were used.
Color had to be added by hand. In the first
part of the century, groups of children or
families colored the sheets by hand. Later
one color would be added on the copper
plate. Today, three and four color processes
make possible the lovely illustrations in chil-
dren’s books.
Technological developments of the nine-
teenth century were the basis for the vast
improvements in the process of printing in
the century ahead.
ILLUSTRATORS OF THE NINETEENTH CENTURY
In the nineteenth century several outstand-
ing artists emerged as illustrators of chil-
dren’s books. It was not until the 1860’s that
books were sold because of the fine illustra-
tions.
George Cruikshank was an engraver who
illustrated Grimm's Fairy Tales in 1820 with
gay, cheerful people instead of the solemn
prigs children had known earlier. A cartoon-
ist, his work appeared in newspapers and
journals as well as the children’s periodical,
Aunt Judy's Magazine. His elves and fairies
were especially appealing.
Walter Crane used flat, bright colors and
Children's Books of Today , Yesterday , and Tomorrow - 63
bold outlines in his first picture books, The fragile children. Her flowers in The Lan-
House That Jack Built, and History of Cock guage of Flowers and Marigold Garden were
Robin and Jenny Wren . Delicate, fairy-like beautifully drawn.
pencil drawings illustrated The First of May. Howard Pyle created real people for his
He especially enjoyed drawing apimals and collections of folk tales and legends. His
outdoor scenes. characters from the Middle Ages were strong;
The picture books by Randolph Calde- ' the life of the times was portrayed with in-
cott established new standards of illustration teresting, clear detail. Pyle also illustrated for
for children's books. His drawings are filled the popular magazines of his day, St. Nich-
with action, joy of living, and good fun. His olas and Scribner's Monthly.
love of animals and the English countryside With the steady decline of Puritanism
is reflected in the illustrations which seem came a< gradual realization that the morbid
to convey much meaning through a few lines. tone of many of the books was actually harm-
On the Caldecott medal there is a reproduc- ful. The make-believe accounts of impossible
tion of John Gilpin’s famous ride, reminder children and perfect parents were no longer
of this famous illustrator of the nineteenth being written. Fairies were finally accepted,
century. and by the end of the century literature was
Kate Greenaway’s name brings visions of designed to give happiness rather than moral
English gardens, delicate, graceful figures, lectures.
and the special style of costume on her rather Mead and Wolfenstein noted that certain
George Cruikshank’s illustration from The Brownies, by Mrs. Ewing. From The Osborne
Collection of Early Childrens Books , 1566-1910. Toronto Public Library, 1958.
64 - Meeting Books and Children
Randolph Caldecott was one of the
first illustrators for children to
show action in his pictures. From
“John Gilpin”, Randolph Caldecott
Picture Book No. 1 , Frederick
Wame, n.d.
writers in the nineteenth century developed
a desire for contact with the charmed age of
childhood:
A recapturing of the dreamlike and magical
could be permitted and justified in communica-
tion with children in making stories for them.
Certain sections of adult consciousness, otherwise
muted and denied, could find expression in tell-
ing tales for children. Kingsley’s Water Babies
and Barrie's Peter Pan evoked a magical world in
which children would never have to grow up. The
child became the guardian and repository not
only of the fanciful (fairy tales old and new being
typed as children’s stories) but also of the roman-
tic: tales of chivalry, old wars, and explorations of
a world not yet completely mapped out. Making
stories specially for children thus arose out of an
adult necessity, a discovery of a new important
role of the child in relation to the adult. 23
Children's Literature: Twentieth Century
BACKGROUNDS
In the rapidly changing world of the twen-
tieth century the child became an important
individual in the family, school, and com-
munity. The importance of early childhood
was emphasized by Freudian psychology, so-
cial anthropologists, and students of child
development. The emerging concepts of child
development emphasized continuous growth,
uniqueness of the individual, and the inter-
relationship of physical, emotional, and so-
28 Margaret Mead and Martha Wolfenstein, Child-
hood in Contemporary Culture. Chicago: University
of Chicago Press, 1955. p. 234.
cial development. Kindergartens became an
accepted part of the school system. Needs for
love, affection, and belonging were stressed
in the many books and articles for parents
and teachers. Television producers and ad-
vertisers were aware of a vast new market
as the infant population boomed in the for-
ties. The “world of childhood” was recog-
nized as a unique and significant world.
Events in America and the world left their
imprint upon children’s literature. Historians
of the twenty-first century will see even more
clearly these influences upon books for boys
and girls. Two world wars and the develop-
ment of atomic power forced the nation to
turn from isolation to participation and lead-
ership among world powers. There was new
impetus for world understanding. Individ-
ualism in industry changed as larger busi-
nesses emerged and as economic forces led
to increased government control and protec-
tion. Suburban developments mushroomed
around cities, changing patterns of family
life. Travel by jet plane and the mass media
of radio and television created new awareness
of others, more information, and contact with
a much wider world. Technology ushered
in the Space Age with its new frontiers for
modern pioneers. Problems of integration
and understanding of other peoples caused
grave concern as two ideologies martialed
forces in a cold war.
Art of the twentieth century was now ex-
perimental — after the 1919* Armory show in
Children’s Books of Today, Yesterday, and Tomorrow - 65
New York there was an awareness of new
styles of painting — freedom, light and color,
marked the abstract designs of cubism, sur-
realism, and other new art forms. Jazz re-
flected distinctly American rhythms. A new
realism in literature was followed eventually
by starkly realistic film portrayal of human
problems. The new schools emphasized cre-
ative expression, but traditional, rigid ap-
proaches remained in most classrooms of the
sixties. Schools were seeking ways to provide
for the wide range of individual differences
among children.
The types of literature published for the
expanding child’s world reflected the changes
and challenges of life in the twentieth cen-
tury. The new philosophy held that child-
hood was to be enjoyed.
It is perhaps one of the finer commentaries
of our times that as adult literature has re-
flected the disillusionment of depression,
wars, and materialism by becoming more sor-
did, sensational, and psychological, children’s
literature has produced books of outstanding
beauty and quality. It is almost as if pub-
lishers, authors, and illustrators had entered
into a conspiracy to give this generation the
very best in the world of books in order to
compensate for a very uncertain future in
the adult world.
TECHNICAL IMPROVEMENTS
The improvements in printing which were
initiated in the nineteenth century were fully
realized in the next four decades. Photo-off-
set lithography made it possible to print
many more books at a lower cost. Bindings
were more durable, often washable, and
bright and gay. It was possible to create beau-
tiful, fine books for children and just as easy
to mass produce shoddy, cheap editions.
The trend toward mass production and
chain stores was reflected in so-called “fiction
factories” in which ideas are developed and
stories written by teams of writers and edi-
tors. 24 Series books were developed by nearly
all publishing houses.
24 “The Grinch & Co.,” Time 70:74-76, December
23, 1957.
RECOGNIJION OF CHILDREN’S LITERATURE
The addition of children’s departments to
publishing firms indicated the growing im-
portance of literature for the young. In 1919
Macmillan made Louise Seaman children’s
editor, and other companies were soon to fol-
low. The first critical reviews of children’s
books appeared in The Bookman in 1918.
Anne Carroll Moore continued this influ-
ential work in her New York Herald Tribune
column, “The Three Owls.” The Hornbook
Magazine , a publication solely devoted to
children’s literature, was first published in
1924 under the editorship of Bertha Ma-
hony.
The observance of Children’s Book Week
was initiated by Franklin K. Mathiews who
had tried to raise the level of reading through
his work as Chief Scout Librarian. His idea
was promoted by Frederick Melcher as a proj-
ect of the American Booksellers Association
in 1919. Schools, libraries, newspapers, and
book stores supported the event which became
a significant stimulant to the development of
children’s literature. In 1945 the Children’s
Book Council was established to promote
Book Week and to distribute information
throughout the year.
Mr. Melcher also promoted another event
which has encouraged the development of
children’s literature. He proposed the presen-
tation of an annual award for the most dis-
tinguished book for children. Since 1922 the
Newbery award and the Caldecott Medal for
picture books, awarded first in 1938, have
had great influence in raising the standards
of writing and illustrating children's books.
Recent years have seen the establishment of
other awards which encourage writers and
illustrators of children’s books. 25
RISE OF THE PICTURE BOOK
The importance of early childhood made it
imperative that books be designed for young
children. Technological progress made it pos-
sible to produce picture books for the pre-
schoolers. Wanda Gag’s delightful tale, Mil-
lions of Cats, published in 1928 has been
25 See Chapter One and Appendix A
66 - Meeting Books and Children
called the first American picture book. 26 In
that same year Boris Artzybasheff illustrated
The Fairy Shoemaker and Other Poems, be-
ginning his outstanding work. In England
Arthur Rackham was drawing his grotesque
people and trees, often conveying an eerie
atmosphere with his skilled lines. His illus-
trations of Aesop's Fables, Gulliver's Travels,
and Mother Goose show fine detail, imagina-
tive elves and gnomes, and excellent use of
color. Leslie Brooke’s animals in Johnny
Crow's Garden were costumed and personi-
fied. The facial expressions convey feeling
with humor and charm.
The production of American picture books
not only benefited from improved techniques
in the field of graphic arts, but also from the
influx of many fine European artists who for
one reason or another sought refuge in this
country. These artists found a legitimate out-
let for their creative talents in the field of
children’s literature. Picture books were
greatly enriched through their unique con-
tributions. A glance at a roster of some of
the names of well-known illustrators will in-
dicate the international character of their
backgrounds: Bobri, Chariot, d'Aulaire, Du-
voisin, Eichenberg, Galdone, Mordvinoff, Pe-
tersham, Rojankovsky, Simont, Slobodkina,
Yashima, and many more. The variety of
their national backgrounds has added a cos-
mopolitan flavor to our picture books which
is unprecedented both in time and place.
American children have become the bene-
ficiaries of an inheritance from the whole
artistic world.
GROWTH OF INFORMATIONAL BOOKS
Lucy Sprague Mitchell utilized knowledge of
child development in her Here and Now
Story Book first published in 1921. She
pointed out the young child’s preoccupation
with himself and his interest in daily experi-
ences. Other writers recognized that such
simple themes as taking a walk, planting a
carrot, or listening to night sounds repre-
28 Meigs, op. cit., notes that William Nicholson’s
Clever Bill, a picture book, was published in 1927. He
was an English artist, however.
sen ted adventure for the three- to five-year-
olds. Books helped him interpret experience;
they were not designed to funnel informa-
tion into his head. E. Boyd Smith’s, The
Farm Book and The Chicken World, pub-
lished in 1910, were among the first illustra-
tive informational books.
The child’s natural curiosity was extended
through realistic stories or through straight-
forward text. The Lucy Fitch Perkins’ Twins
series gave information through stories. In
The Japanese Twins, for example, Taro and
Take are always “nice” children having a
“nice” time in the series of incidents de-
scribed. The inferior place of woman symbol-
ized in the scene in which the new male
baby’s foot is placed on his big sister’s neck
was realistic. Most children would miss the
meaning of this incident which ends as the
mother sighs and turns her face to the wall.
Unfortunately, stereotyped characters pre-
vailed. Reed’s The Earth for Sam and Fen-
ton’s Along the Hill (1935) exemplify the
beginning of accurate informational books.
Since the forties, quantities of informa-
tional books have rolled from the presses to
give children facts on almost every conceiv-
able subject. Series books in the areas of
science and social studies were important de-
velopments in this period. The First Books,
All About Books, and the True Book series
are examples of the trend. Many books of
experiments by such authors as the Schnei-
ders and Freemans have stimulated children's
science activities. Developments in the fields
of atomic energy and exploration of space
have been reflected in recent books for chil-
dren. Lewellen, Zim, Ley, and Gallant have
made significant contributions. Biographies
appeared to satisfy children’s interest in na-
tional heroes. Daugherty’s Daniel Boone pub-
lished in 1930 was outstanding. The Child-
hood of Famous Americans series initiated
the trend to publish biographies for boys and
girls in series form.
Early in the twentieth century, historical
fiction was written for children. Laura Rich-
ards quoted from diaries and letters as she
wrot t Abigail Adams and Her Times (1909) .
Children's Books of Today , Yesterday , and Tomorrow - 67
The Horsemen of the Plains (1910) by Jo-
seph Altsheler related exciting frontier sto-
ries. The legendary approach to history was
utilized by Mary MacGregor in Story of
Greece (1914) . When Knights Were Bold
brought another period of history to life
when Eva March Tappan published this
book in 1911. Coatsworth’s historical fiction
about America was initiated with Away Goes
Sally in 1934.
In the fifties factual books about rockets,
satellites, and space almost seemed to be fan-
tasy. This new region of exploration holds
the promise of exciting adventure tomorrow.
FOLK TALES
A famous story teller, Mrs. Gudrun Thorne-
Thomsen, recorded stories from Norway in
East O’ the Sun and West O’ the Moon in
1912. Kate Douglas Wiggin edited tales from
the Arabian Nights and Ellen Babbitt
brought forth a collection of Jataka Tales.
From 1900 to 1920 many collections of folk
tales were added to the book shelves in homes
and libraries. Serious scholars recognized the
values of these tales, and storytellers in
schools and libraries brought them to the
lives of children. Padraic Colum, Kate Doug-
las Wiggin, Parker Fillmore, and others con-
tributed significant collections. Tales from
the Far East and Africa were also added in
the forties and fifties.
HUMOR AND FANTASY
Fantasy for children in the first half of the
twentieth century seemed to come mainly
from English writers. The boy who refused
to grow up and lose the beauties of Never
Never Land, Peter Pan, appeared in a Lon-
don play in 1904 by J. M. Barrie who made
the play into a story titled Peter Pan and
Wendy in 1911.
Another storyteller, Kenneth Grahame,
wrote installments in a series of adventures
of a water rat, a mole, and a toad for his
small son who was on a vacation. In this way,
The Wind in the Willows was written and
published in 1908.
Selma Lagerloff had been commissioned to
write a geographical reader on Sweden. After
collecting material, she decided to present it
in the form of fantasy. In the story a boy is
changed into an elf who flies over Sweden
on a ganders back; The Wonderful Adven-
tures of Nils appeared in 1907.
E. Nesbit’s fantasies of magic rings, wishes,
and invisible children mix humor, the real,
and the unreal. Written in the early 1900's,
The Treasure Seekers tells of the Bastable
family who try to recover a fortune. These
magic tales were forerunners of the Mary
Poppins stories.
Its merits have been debated by librarians
and teachers for the past fifty years, but hun-
dreds of children have enjoyed Dorothy, the
Cowardly Lion, and the Tin Woodman in
Oz since Frank Baum published The Won-
derful Wizard of Oz in 1900.
One of the most delightful books of humor
appeared in 1926. A. A. Milne created such
believable characters as Eeyore, Piglet, and
Pooh for young Christopher Robin, his son.
The stuffed animals in Winnie the Pooh have
many adventures which are true fantasy.
Perhaps books of humor and fantasy re-
flected the need for escape from the shadows
of world tensions and war. New theories of
child development recognized the rights of
children to be themselves; the mental-health
movement pointed up the values of rec-
reation and fun for wholesome personal-
ity development. McCloskey’s Homer Price,
Cleary’s Hemy Huggins , and Atwater’s Mr.
Popper’s Penguins brought humor in realis-
tic stories. Dr. Seuss in The Five Hundred
Hats, Lawson in Rabbit Hill, Du Bois in
Twenty One Balloons, and Norton in The
Borrowers wrote twentieth-century fantasy
for children.
ANIMAL ADVENTURES
Recognizing children’s interests in animals,
writers of this century used this theme in fan-
tasy, adventure, and informational books.
One of the most famous animals in litera-
ture is Peter Rabbit who appeared in Mr.
MacGregor’s garden in 1901. Beatrix Potter
68 - Meeting Books and Children
introduced other animals, Jemima Puddle-
duck and Benjamin Bunny, but the cotton-
tail family is best known and loved.
Kipling made the Law of the Jungle real
for young readers. His animals in The Jungle
Book maintained their true character as they
hunted, held councils, and lived with the
manling, Mowgli. The Just So Stories (1902)
stimulated children’s imaginations as Kip-
ling gave delightful accounts of the origin of
animals. Adventure was added to the animal
theme in Jack London’s The Call of the Wild
published in 1903.
Although many would place Hugh Loft-
ing’s The Story of Doctor Dolittle (1920)
with the books of fantasy, children usually
think of it as an animal story. Boys and girls
read and re-read Albert Payson Terhune’s
story of the faithful collie Lad; A Dog (1919).
In the forties Anderson wrote the Blaze sto-
ries, Henry delighted children with Misty
and Brighty, and Farley’s Black Stallion se-
ries gained popularity.
The many realistic, informational books
about specific animals which appeared in the
fifties represented a new type of literature
to meet children's interests.
BOOKS FOR PERSONAL-SOCIAL
DEVELOPMENT
The shadows of religious austerity and didac-
ticism were reduced with the light of under-
standing of children. Also, the changing atti-
tudes toward religion were reflected in books
for children. Religious books were designed
to help the child appreciate his religion and
that of others. Dorothy Lathrop’s Animals
of the Bible was the first Caldecott Award
book. The Petershams illustrated a beauti-
ful story. The Christ Child, in 1931. Helen
Sewell’s effective, sculptured drawings en-
riched selections from the Bible in A First
Bible, published in 1934. Elizabeth Orton
Jones interpreted Bible verses in Small Rain,
1943. She drew realistic, charming children
engaged in everyday activities to illustrate
Bible verses. The gay rhythm band for the
text, “Make a joyful noise unto the Lord"
is especially appealing. Miss Jones shows chil-
dren of all races happily playing together.
One God ; The Ways We Worship Him by
Fitch (1944) explained religious beliefs and
rituals of Protestants, Jews, and Catholics.
Emphasis upon books of manners contin-
ued into the twentieth century as Gelett Bur-
gess initiated the cartoon approach in “A
Manual of Manners for Polite Infants Incul-
cating Many Juvenile Virtues Both by Pre-
cept and Example .” The main title was
Goops and How to be Them. This forerun-
ner of Munro Leaf’s book on manners was
published in 1900.
New developments often reflected war,
depression, migrations, and other social fac-
tors in the contemporay scene. Just as in the
past, children’s books still mirror adult con-
cerns and interests. Intercultural education
has taken on new significance. Problems of
minorities and regional groups were pre-
sented in the themes of such books as Two
is a Team by Beim, Thee, Hannah! by De
Angeli, Blue Willow by Gates, and Cotton in
My Sack by Lenski. The twentieth century
recognition of the necessity for understand-
ing others has led to such books as Yashima’s
Crow Boy and Estes’ The Hundred Dresses.
A tremendous increase in series books
about other lands followed World War II
and beautiful photography books about
other lands appeared in the late fifties. The
importance of security in early family rela-
tionships led to books about new babies,
adopted children, and good family relation-
ships. Other books dealt with such problems
as fear, adjustment to new situations, and
acceptance in the peer group. Some of these
books moralize as did the old didactic stories.
Unfortunately, many overemphasized the
theme and failed to meet criteria of good
books for children.
POETRY
“Liquid liveliness," “rare charm," “exquisite
mastery of words" — these phrases have been
used to describe the beauty in the poems of
and for children by Walter De La Mare.
Songs for Childhood appeared in 1902, be-
ginning the new century with a work which
Children’s Books of Today , Yesterday, and Tomorrow - 69
helped young and old alike perceive infinite
beauty and enchantment. Eleven years later
Peacock Pie brought new melodies, nursery
rhymes, and lairy poems.
The lun and gaiety of the child’s everyday
world was interpreted by such poets as A. A.
Milne, Rachel Field, and Dorothy Aldis.
The transition in children’s poetry from
the didactic to the descriptive, from moraliz-
ing to poems ol fun and nonsense, has at last
been achieved.
BOOKS FOR SPECIAL INTERESTS
Another trend in the twentieth century is the
increase in the number of special-interest
books. “How to Do It’’ books, books about
art, music, and dance, sports stories, and mys-
teries were produced rapidly. Several new
magazines appeared and children’s book
clubs have developed.
SUMMARY
When the twentieth century opened, the
young reader could find upon his bookshelf
many books primarily intended for adults,
didactic tales aimed at instruction, some in-
formational books, and a few stories written
purely for his pleasure. By mid-century books
no longer had to teach, preach, or patronize!
Fun was now acceptable; the child’s natural
curiosity was both extended and satisfied
through informational books.
Forerunners of modern books have been
identified in this chapter. Part Two describes
each of the types of books available today
and establishes criteria for selection. Only a
genii from a modern Aladdin’s lamp could
have foretold the tremendous development
in children’s literature which was to take
place in the first half of the twentieth cen-
tury.
CHILDREN’S BOOKS TOMORROW
Literature for children has reflected chang-
ing cultural patterns through the centuries.
In an era of rapid social change, it is difficult
to predict adult purposes for publishing and
selecting books for children. It is possible to
discern trends which will influence children’s
books of tomorrow. The concern about con-
formity, mental health, commitment to dem-
ocratic values, and world understanding will
be reflected in future offerings. The contin-
ued emphasis upon science and technology
will probably result in more books of infor-
mation about matter and energy, outer space,
radiation, magnetic fields, and the expanding
universe.
With the advent of foreign languages in
elementary curricula and the possibilities lor
world-wide television, children should be
given the opportunity to enjoy books from
other countries. Books such as The House
that Jack Built by Frasconi are already cre-
ating interest in other languages. It is hoped
that when children around the world share
laughter and adventure through a new world
literature, deeper understandings will de-
velop.
More books dealing with emotions and
understanding of causes of behavior can be
expected. Self understanding will be fostered,
tolerance and acceptance of others will be
emphasized.
The trend toward patterns of individual-
ized reading instruction makes it imperative
to provide many and varied books in each
school classroom and library. The elemen-
tary teacher will find it necessary to know
many books instead of one reading text. As
educators use such varied materials to meet
the wide range of individual differences, the
“grade’’ labels will tend to disappear. A book
may serve the needs of a child in second grade
as well as the needs of another child, working
at a different level, in a sixth grade. The
sharp division between texts and trade books
for use in gaining information will decrease.
Trade books with controlled vocabularies
will provide interesting literature for begin-
ning readers.
70 - Meeting Books and Children
Teachers are also challenged to develop at-
titudes toward reading. In his commentary
on American culture. Golden pointed out
the importance of developing respect for
reading:
Today there seems to be a conspiracy against
books, or I should say against bookish men. One
of the accusations made against a Government
employee I know was that '‘he reads too many
books.” They made a movie recently . . . about an
American family with three sons, and the eldest
son turns out to be a Communist spy. When this
information is revealed the father tells the FBI
man, in effect: ‘‘I always knew something like this
would happen. My other two boys were out there
playing catch in front of the house, while this fel-
low (the spy) was always readin’ books .” 27
Education must prepare the citizens of to-
morrow to use wisely the increasing hours of
leisure time. Teachers are challenged to use
this literature effectively in planned pro-
grams which provide opportunities for boys
and girls to become readers. The world of
books will gain increasing significance for
children of the Space Age.
SUMMARY
The importance of children’s literature in
the space age is emphasized when teachers
and librarians become aware of the unique
purposes of books. Through literature, chil-
dren learn a common language; they experi-
ence common emotions of the human fam-
ily; they gain understanding of their world
and their place in it. A literature program in
the elementary school should be mainly con-
cerned with the development of citizens who
read .
A review of the historical development of
children’s literature revealed the influences
of adult purposes for children’s reading and
attitudes toward children in the society. As
children gained status, and as educators un-
derstood child nature, moralistic lessons were
eliminated from children’s books. The de-
* Harry Golden, Only in America. Cleveland:
World Publishing Company, 1958. p. 178.
velopment of modern printing processes
made it possible to produce quantities of
beautiful books. Fine artists contributed
their talents to a growing field. Forerunners
of each of the modern types of books can be
found in the earliest literature for children.
Twentieth century trends in children’s lit-
erature were identified, and possible future
developments were predicted. Children's lit-
erature has come of age! As children “come
of age" teachers are challenged to guide se-
lection of books and interpretation. They are
especially charged with the task of helping
children develop life-long interests in read-
ing.
SUGGESTED ACTIVITIES
1. Recall your reading experiences from
childhood. What were -your favorite
books? What books were read to you as a
child?
2. Look at some of the copies of early books
for children. Compare content, type, and
illustrations of these early examples with
modern books.
3. Identify adult purposes in several recent
books for children.
4. Begin your reading of children’s books by
reviewing a modern book of each type —
humor, information, picture, folk tale,
biography, animals, or other lands.
5. If possible, bring your favorite book to
class and discuss it with others. What parts
did you like best as a child? Do you en-
joy the book now upon re-reading?
6. Interview five adults of different ages. In-
quire about their favorite books and
childhood reading interests.
RELATED READINGS
Adams, Bess Porter. About Books and Children. New
York: Holt, Rinehart and Winston, 1953.
Chapters I to IV relate early philosophies, cultural
influences, and effects of psychology on the devel-
opment of children’s literature. Chapter XIII pre-
sents the history of children’s magazines and
Children's Books of Today , Yesterday , and Tomorrow - 71
Chapter XV contributes a history of book illus-
tration.
Arbuthnot, May Hill. Children and Books. Revised
edition. Chicago: Scott, Foresman and Company,
1957.
Chapter III emphasizes the puritanical influence
and describes the didactic literature available. The
origin of ballads is described in Chapter V. Chapter
VII illustrates early poetry, and the origin of folk
tales is reviewed in Chapter XI.
Blackstock, Josephine. Songs for Sixpence. Illustrated
by Maurice Bower. Chicago: Follett Publishing
Company, 1955.
This is an interesting story of John Newbery who
became a London bookseller. The lively action in-
cludes a picture of eighteenth-century London.
Good background information is provided for both
teacher and children.
Dalgleish, Alice. A Book for Jennifer , A Story of
London Children in the Eighteenth Century and
of Mr. Newbery’ s Juvenile Library. Drawings by
Katherine Milhous. New York: Charles Scribner's
Sons, 1940.
The title page and chapter-title pages resemble
early books, and the story reflects eighteenth-
century attitudes toward children. This will be
enjoyed by both teachers and pupils.
Epstein, Sam and Beryl. The First Book of Printing.
Pictures b) Liiszlo Roth. New York: Franklin Watts,
Inc , 1955
This book for children also will be useful to the
teacher in understanding various printing processes.
Folmsbec, Beulah A Little Hist on* of the Hornbook.
Boston: The Horn Book, Inc., 1942.
A tinv volume, the size of the early hornbooks,
gives the recipe for making sheets of horn and tells
how the horn book was made.
Hazard, Paul. Books Children and Men. Boston: The
Horn Book, Inc., 1947.
Glowing prose illuminates the relationship of
literature to life and stresses the values of provid-
ing opportunities to bring literature to children.
Criteria for good books for children are set forth.
Jordan, Alice M. From Rollo to Tom Sawyer. Boston:
The Horn Book, Inc., 1948.
Biographies of authors of children’s books of the
latter half of the nineteenth century help the
teacher understand books of this period.
Kiefer, Monica. American Children Through Their
Books 1700-1835. Philadelphia: University of
Pennsylvania Press, 1948.
The significance of the changing status of children
in the development of literature is clearly deline-
ated. Influences of educational philosophers is
illustrated in this reference. Descriptions of chil-
dren’s clothing and customs are especially interest-
ing.
Mahony, Bertha E., Louise Latimer and Beulah
Folmsbee. Illustrators of Children’s Books 1744 —
1945. Boston: The Horn Book, Inc., 1947.
Part I traces the history of picture books in
England and America. Reproductions of early
illustrations are excellent. Graphic processes in
children’s books are dearly explained.
Meigs, Cornelia, et al. A Critical History of Children's
Literature. New York: The Macmillan Company,
1953.
An interesting survey of books for children from
earliest times to the middle of the twentieth cen-
tury. The organization by chronological periods
emphasizes influences upon children’s literature
and trehds. Many examples of books for children
in each period of history provide details regarding
the development of children’s literature.
Muir, Percy. English Children’s Books 1600 to 1900 .
London: Batsford, 1954.
The development of literature for children in
England is outlined in detail. The section describ-
ing the work of early illustrators of children's books
is particularly useful.
Sloane, William. Children’s Books in England and
America in the Seventeenth Century. New York:
Kings Crown Press, Columbia University, 1955.
A valuable account of folk material, books of good
ad\ice, and religious books available for children
in the se\enteenth century is presented.
Smith. Dora V. “Children’s Books — Yesterday and
Todav.” ALA Bulletin 51:254-59, April, 1957.
A concise summary of trends in children's literature
and influences upon its development.
St. John. Judith. The Osborne Collection of Early
Children’s Books 1566—1919 , A Catalogue. Toronto:
Toronto Public Library, 1958.
This catalogue describes approximately 3000 books
in the Osborne collection The books are classified
according to interests such as nursery and fairy
tales, poetry, instruction, and stories. The repro-
ductions from these early books are excellent.
3 -Children Read Pictures
Annie, aged two and one-half, returned home
from a morning visit with her four-year-old
playmate. While waiting for her lunch, Ann
looked thoughtfully at her mother and said,
“Do you know, Robin can’t read.” There was
a mixture of pity and amazement in her
voice, for Annie could “read.” True, she
could not identify the printed words, but she
could read pictures with understanding. In
AT MOTHER’S KNEE
Children cannot be introduced to books too
soon. At age two and one-half, Annie had al-
ready entered the world of literature. To
know exactly why she enjoyed books and
Robin did not, would require an intimate
knowledge of their family backgrounds. We
know that Annie came from a home in which
books were a part of her natural environ-
ment. She saw her mother, father, and sister
reading. She frequently went to the library
with them. After they had selected their
books, Annie was taken to the children’s
fact, her favorite entertainment was “read-
ing” books or magazines by herself, with her
mother, or any other willing interpreter of
the printed page. Although only two and a
half, Annie had discovered the joys and pleas-
ures which can be derived from reading. She
was amazed and a little sad to learn that all
children actually did not share her favorite
pastime.
room for her books. The bedtime-story was
a ritual in her life. But enjoyment of books
was not limited to just this time; rainy days
meant reading days; the quiet and lonely
time right after her daddy had gone to work
and her sister to school; a few moments be-
fore her nap-time; at dusk when the family
was waiting dinner for father; these were all
times when Annie could say, “Read to me,
please.”
Annie is learning to love books, as she has
many opportunities to snuggle up close to
75
Enjoyment of literature begins
“at Mother’s knee.” Photo-
graphed by Donald Bowser.
her mother and father for a story time. She
is also increasing her vocabulary as she points
to pictures and names them, or hears new
words used in the context of the story. The
language development of children of this age
is phenomenal; preoccupation with words
and the sounds of words is characteristic of
the very young child. Books help to fulfill
this insatiable desire to learn new and more
words.
The young child who has the opportunity
to hear and enjoy many stories is also getting
ready to learn how to read. The process of
learning to read should hold no terror for
Annie, only the opportunity to become inde-
pendent in a skill which she knows gives
pleasure. Her experiential background has
been widened as a result of exposure to many
books. Research has shown that the nature
and extent of children's past experiences in-
76
fluence their progress in learning to read.
The meaning and comprehension of the
printed page depends upon the meaning and
understanding which the reader brings to
that page. Annie’s background of experience
is rich and not limited to books alone. How-
ever, her enjoyment and appreciation of the
world of literature will facilitate the transi-
tion from hearing stories to reading stories
independently.
First Books
Frequently, young children’s “first books”
are the family magazines. Toddlers can look
at these, find pictures of “mother,” “daddy,”
“sister,” and even themselves. If pages are
bent or torn no serious damage has been
done. Recognizing this need of the young
child to identify objects, publishers have pro-
duced simple “first books.” These are usually
Children Read Pictures - 77
constructed with heavy, durable pages and
portray such familiar objects as favorite toys,
clothing, and animals. “First books” may
have an accompanying text, but there is little
or no continuity of plot to these stories. The
fun is in the naming of the pictures. The il-
lustrations should be simple, uncluttered,
and easily identifiable, with usually only one
object, or a group of two or three on a page.
Baby's First Book, illustrated by Garth Wil-
liams, is an excellent example of this type of
book. Francoise has written a “naming book”
for the preschool child entitled The Things
I Like. In her usual peasantlike style, the au-
thor-illustrator has a little girl, a boy, and a
dog tell the things they like: animals, people
(this is the dog’s preference) , good things to
eat, picnics, vacations, books, parties, the cir-
cus, Easter, and Christmas. The ending of
this book invites the readers’ participation
with the question, “What do you like?”
“Participation” Books
The secret of sharing any book or picture
with young children is to involve the child
in some way. In looking at a picture in Mar-
garet Friskey’s Seven Diving Ducks , the
reader will ask, “Show me the ducks that are
in the water? Show me the ducks that are on
land? Where is the little duck who wouldn’t
dive?” Young children enjoy riddlelike ques-
tions. For example, when sharing Slobod-
kina’s Caps For Sale f the child can be asked,
“Find the monkey — not the one in the red
hat, not the one in the blue hat, but the one
in the green hat!” Such questioning will help
children develop visual discrimination, but,
more importantly, it will make story-time
fun. Some books have “built-in participa-
tion” as part of their design. These books
may well serve as the transition between toys
and real books. In fact, two such books, by
Clark, All By Himself and All By Herself,
are produced by a toy company. These book-
lets with their cloth pages and sturdy design
help the child learn to button real buttons,
zip zippers, snap snappers, and lace pretend
shoes. The child reader is invited to partici-
pate in some way on each page. These books
are perennial favorites with the two- to three-
year-old group.
Equally popular with younger children are
two participation books by Dorothy Kun-
hardt, Pat the Bunny and The Telephone
Book . In Pat the Bunny, the child is invited
to use senses other than sight and sound. A
“pattable” bunny made of flannel is on one
page, flowers that really smell on another,
and Daddy’s unshaven face, represented by
sandpaper roughness, is on still another.
Young children literally wear out this “tac-
tile” book. The Telephone Book capitalizes
on children’s delight in pretending to tele-
phone. Two small cardboard phones on
strings are provided at the beginning and end
of the book. Throughout the text, sugges-
tions are made for the child to phone his
grandmother, the market, and other places
in his everyday experience.
H. A. Rey has provided for participation
in some of his books by the simple device of
placing a surprise picture under a flap of
each page. In Where's My Baby ? children are
asked to look for the young kangaroo — lift
the flap, and there he is all cozy in his
mother’s pocket! Similarly designed books
by the same author-illustrator include the
titles Anybody at Home ? and Let's Feed the
Animals. The sophisticated cut-out books by
Bruno Munari have immediate appeal for
young children. Boys and girls are surprised
and pleased by the unusual arrangement of
the pages in these books which were first
printed in Italy. In Animals For Sale 1 a tall
gentleman is walking a flamingo. The text
asks if the reader would like a flamingo and
the reply is given, “No, it might peck at the
wallpaper. Show me another animal.” By lift-
ing a smaller page, the reader sees a porcu-
pine attached to the same leash and walking
with the same tall gentleman. An armadillo,
bat, and centipede are discovered under sub-
sequently smaller pages. In Who's There?
Open the Door!, the first double spread shows
Lucy the giraffe, having arrived all the way
1 Bruno Munari, Translated by Maria Cimino,
Animals For Sale. Cleveland: The World Publishing
Company, 1957.
78 - Knowing Children's Literature
from Lisbon, with a crate. Open the crate
(which is a page) and there is Peggy the zebra
from Paris with a trunk (a smaller page) and
so on. One three-year-old was first introduced
to this book by knocking at the cover and re-
peating the title of Who's There ? Open the
Door ! It became a favorite book which he
requested again and again. The preliminary
participation of knocking on the cover be-
came an established ritual.
All these “participation books” are well
constructed for their unique uses. They en-
courage children to really become involved
in the story and they make children's intro-
duction to books fun. Some “gadget” books
may appeal to the adult buyer, but they may
be torn or broken when manipulated by chil-
dren. Sturdy construction is an essential re-
quirement for books for the youngest. Sim-
plicity of format and clear, recognizable pic-
tures are equally important.
ABC Books and Counting Books
ALPHABET BOOKS
Parents and teachers frequently use alphabet
and counting books in a similar fashion to
“first books” and participation books. In
ABC books only one or two objects are pre-
sented on a page; they must be easily identifi-
able and meaningful to the child. Since the
text is necessarily limited, the pictures usually
“carry” the story. Many alphabet books are
written in verse, however, which give the
added interest of rhythm and rhyme.
An ABC Book by C. B. Falls is a simple
alphabet book based upon pictures of ani-
mals from the zoo and farmyard. The Color
ABC by Nancy Larrick has large, realistically
colored illustrations by Rene Martin. Chil-
dren enjoy these clear, simple pictures. While
there is no continuity to the text, some in-
formation is given for each animal or object
portrayed. Wanda Gdg’s ABC Bunny is about
the adventures of one little rabbit. In A Is
for Annabelle, Tasha Tudor utilizes verse
form and daintily colored pictures of an old-
fashioned doll to make a charming alphabet
book. Anglund has chosen Mother Goose
rhymes to illustrate each letter in her gay,
quaint ABC book, In a Pumpkin Shell . Fritz
Eichenberg's Ape in a Cape is a humorous
alphabet book which is liked by young chil-
dren. They will remember his amusing pic-
tures of a “Goat in a Boat” and “Fox in a
Box,” along with the rhyming captions.
Charlotte Steiner's ABC is illustrated with
brightly-colored pictures of the activities of
young children. Boys and girls identify with
the many familiar situations of this book.
Margaret Wise Brown has written the Sleepy
ABC which Esphyr Slobodkina illustrated in
her distinctive stylized fashion. Intended as a
bed-time story, this book is also written in
rhyme form. It includes such rhymes as:
K is for Kissing your mother goodnight
L is for Listening when they turn out the light
M is for Mother who tucks you in tight
N is for the dark and starry night . 2
Two ABC books for somewhat older chil-
dren are the handsome volumes of A For The
Ark by Duvoisin and Phyllis McGinley's All
Around the Town. Duvoisin's book is based
upon the Old Testament story of the Flood
in which Noah decided to call all the ani-
mals to the ark in alphabetical order. On
large double-page spreads the animals march
through this book in a continuous kind of
picture-frieze. The drama of the impending
deluge is indicated as the clouds grow darker
and more ominous on each page. Phyllis Mc-
Ginley’s book contains lively, gay verse about
city sights and sounds. The illustrations by
Helen Stone reflect busy city life. An example
of the alliterative verse which is given for
“E,” follows:
E is an Escalator
That gives an elegant ride
You step on the stair
With an easy air
And up and up you glide.
2 Margaret Wise Brown, Sleepy ABC, Illustrated by
Esphyr Slobodkina. New York: Lothrop, Lee & Shep-
ard Co., Inc., 1953. Unpaged.
Children Read Pictures - 79
is for H AT
Green, yellow, or red.
Stovepipe or turban,
It sits on your head,
Remove it when bathing
Or when going to bed.
h
is for h a t
From Puptents and Pebbles by William Jay Smith.
Illustrated by Juliet Kepes. Little, Brown, 1959.
It’s nicer than scaling ladders
Or scrambling ’round a hill,
For you climb and climb
But all the time
You’re really standing still. 3
Puptents and Pebbles by William Jay
Smith is a delightfully modern nonsense
ABC. The pictures by Juliet Kepes are bright
and lively, quite in keeping with the amus-
ing rhymes for each letter. The verse for
“H” will appeal to the humor of six- and
seven-year-olds.
H is for HAT
‘ Green, yellow, or red,
Stovepipe or turban,
It sits on your head;
Remove it when bathing
•Phyllis McGinley, All Around the Town. Illus-
trated by Helen Stone. Philadelphia: J. B. Lippincott
Company, 1948. Unpaged.
Or when going to bed.
H is for hat. 4
Another humorous alphabet book has been
written by Beverly Cleary and is entitled The
Hulabaloo ABC . Each letter is the base for
a brief bit of rhyme about the sounds on a
farm. For example, "G is for grunt. That’s
the pig. Nothing moves him. He’s too big.”
or, ‘‘S for Sh-h-h. Hear a squeak in the hay?
Hush. It's a mouse who scuttles away.” 5
Bruno Munari has created a beautifully de-
signed and humorous alphabet book. Simply
titled ABC, this book will capture the
imagination of children and adults.
COUNTING BOOKS
Children enjoy the natural participation
which is included in every counting book.
Many of the same author-illustrators who
have published alphabet books, have also
written counting books. Fritz Eichenberg’s
Dancing in the Moon explains the numbers
one through twenty in one-line rhymes. Fran-
coise’s book, Jeanne-Marie Counts Her Sheep,
is an amusing story which involves much
counting. Jeanne-Marie dreams of all the
lambs which her pet sheep, Patapon, will
have and what she may purchase from their
sale. At the conclusion, Patapon has only
one lamb, and Jeanne-Marie can make only
a very small purchase. Two Lonely Ducks,
by Duvoisin, includes the numbers from one
through ten in a simple but amusing story.
Tasha Tudor’s book, 1 is One, is artistically
illustrated in her old-fashioned dainty style.
Numbers one through twenty are explained
in verse form. A very simple, but much loved,
counting book is Lillian Moore’s My First
Counting Book . Garth Williams’ soft fuzzy-
looking animals illustrate this book and ac-
count for much of its appeal. Margaret Fris-
key’s Chicken Little Count-to-Ten presents
the concept of counting as a little chicken
4 William Jay Smith, Puptents and Pebbles. Illus-
trated by Juliet Kepes. Boston: Little, Brown & Com-
pany, 1959. p. 13.
•Beverly Cleary, The Hulabaloo ABC. Illustrated
by Earl Thollander. Berkeley, Calif.: Parnassus Press,
1960. Unpaged.
80 - Knowing Children’s Literature
meets one cow, then two elephants, three
camels and so on.
Recent years have seen greater originality
and variation in the themes of counting
books. Charlotte Zolotow’s One Step, Two
. . ., illustrated by Duvoisin, is an interest-
ing departure from the usual animal count-
ing book. Here little Ellen takes a walk and
her steps are counted from one through
twelve. Watson's What Is One? acquaints
children with numbers and counting by using
examples from nature. With descriptive prose
and pictures, number concepts are presented
in a dialogue between two children:
“What is one?” said Linda.
“That big pine tree against the sky, that is one,”
said Peter.
“What is two?" said Linda.
“See our tracks behind us, two long (sled) tracks
in the snow? One, two, that is two.” said
Peter. 6
Doisneau in his book, 12345 , has used attrac-
tive and fanciful photographs to illustrate
children in number-oriented situations. Gay
verses accompany each photograph as in the
following example:
MOTHER GOOSE
For many children, Mother Goose 8 is their
first introduction to the world of literature.
Even a one-year-old child will respond with
delight to “Pat-a-Cake! Pat-a-Cake!” or “This
little pig went to market.” Many of the
Mother Goose rhymes and jingles continue
to be favorites among the fours and fives.
What is the attraction of Mother Goose
which makes her so appealing to these young
children? What accounts for her survival
through these many years? Much of the lan-
guage which is used is obscure. No modern-
8 Nancy Dingman Watson, What Is One? Illustrated
by Aldren A. Watson. New York: Alfred A. Knopf,
Inc., 1954. Unpaged.
7 Robert Doisneau and Arthur Gregor, 12345 . Phil-
adelphia: J. B. Lippincott Company, 1956. Unpaged.
Eleven, eleven
No longer six or seven
I have a birthday cake,
eleven candles
And a wish to make
And now
As I blow the candles out
What do you think my wish is about? 7
Another favorite counting book, particularly
with five- and six-year-olds, is Esther K.
Meeks’ One Is the Engine. Here the child is
encouraged to count while identifying the
different cars on trains.
John Langstaff’s Over in the Meadow,
which has been so beautifully illustrated by
Rojankovsky, is based upon the old counting
rhyme and song of that title. Children love
this book not only for the full-page colored
illustrations of the sunny meadow and the
cool pond where the frogs and beavers live,
but for the lilt and rhyme of the poem. They
enjoy chanting the refrains at the end of each
verse. This book, although it involves count-
ing, has much of the charm and flavor of fa-
vorite Mother Goose rhymes.
day child has any understanding of curds and
whey, yet he delights in Miss Muffet. Noth-
ing in current literature has replaced the
venerable Mother Goose for the nursery-
school age.
Appeals of Mother Goose
LANGUAGE PATTERN
Much of the appeal of Mother Goose is in
the varied language pattern; the rhythm and
rhyme of the verses; the alliteration of many
lines such as: “Wee Willie Winkie runs
through the town,” or “Deedle, deedle,
dumpling, my son John.” Children love the
sound of the words for they aie experiment-
8 See Chapter 2 for the development and back-
ground of Mother Goose.
Children Read Pictures - 81
ing with language in this period of their
development. The greatest growth in lan-
guage development is achieved between the
ages of approximately eighteen months and
six years. The child learns new words every-
day; he likes to try them out, to chant them
in his play. Mother Goose rhymes help
satisfy this preoccupation with language
patterns.
PARTICIPATION
Mother Goose rhymes offer the young child
many opportunities for active participation
and response. Most of the verses are short and
easily memorized; they can be chanted in
unison, or children may join in the refrains.
Some of the rhymes, such as “Pease Porridge
Hot," “London Bridge," or “Ring a Ring
o’Roses," are games or involve direct action
from the child. Other verses include count-
ing, as in:
1, 2, buckle my shoe;
3, 4, shut the door;
5, 6, pick up sticks;
7, 8, lay them straight;
9, 10, a good fat hen;
11, 12, dig and delve;
13, 14, maids are courting;
15, 16, maids in the kitchen;
17, 18, maids are waiting;
19, 20, my platter’s empty.
Children of five and six enjoy answering the
riddles in some of the Mother Goose rhymes
or attempting to say their favorite tongue
twisters. Every child likes to fool someone
with the well-known riddle, “As I was going
to St. Ives, I met a man with seven wives."
Less well-known, but thoroughly enjoyed is:
Two legs sat upon three legs,
With one leg in his lap;
In comes four legs,
Runs away with one leg,
Up jumps two legs
Catches up three legs,
Throws it after four legs,
And makes him bring back one leg.
It is all very clear after you know that one
leg is a leg of meat; two legs, a man; three
legs, a stool; and four legs, a dog. Children
never fail to be delighted in the successful
recitation of the entire verse of “Peter Piper
picked a peck of pickled peppers." In various
ways children may participate in Mother
Goose rhymes.
NARRATIVE QUALITY
Another attraction of many of the Mother
Goose rhymes is their narrative quality; they
tell a good story. In just six lines, “Little
Miss Muffet" proves to be an exciting tale
with action, a climax, and a satisfying con-
clusion. This is also true of “Simple Simon,"
“Sing a Song of Sixpence," and “The Old
Woman In the Shoe." These stories in
Mother Goose are characterized by their
quick action. They are not moralistic, but
justice does prevail. Notice the ending of
“The Queen of Hearts":
The Queen of Hearts
She made some tarts
All on a summer's day.
The Knave of Hearts,
He stole the tarts
And took them clear away.
The King of Hearts
Called for the tarts,
And beat the Knave full sore.
The Knave of Hearts
Brought back the tarts
And vowed he'd steal no more.
Instead of being disturbed by the verse, chil-
dren readily accept the natural punishment
of Little Polly Flinders:
Little Polly Flinders
Sat among the cinders,
Warming her pretty little toes!
Her Mother came and caught her,
And whipped her little daughter
For spoiling her nice new clothes.
Five- and six-year-olds like the long accumu-
lative stories in Mother Goose. One of their
favorites is “The House That Jack Built."
82 - Knowing Children's Literature
CHARACTERS
Children enjoy the short stories in many of
these verses and they enjoy knowing the
characters who are interesting, likeable peo-
ple. Old King Cole is a jolly old soul, Old
Mother Hubbard tried to find her poor dog
a bone, and although Tommy Lynn put the
pussy in the well, Johnny Stout pulled her
out! “The Crooked Man” has a crooked
smile, and Mary did love her lamb. Not all
the characters in Mother Goose are likeable.
Unpleasant character traits are suggested by
“Crosspatch,” “Tom, Tom, the piper’s son,”
and “Georgie Porgie.” Teachers would hope
their pupils would not emulate this student:
A dillar, a dollar
A ten-o'clock scholar,
What makes you come so soon?
You used to come at ten o’clock
And now you come at noon.
The behavior of the “Little Girl With a
Curl” is familiar to adults and children alike:
There was a little girl and she had a little curl
Right in the middle of her forehead.
When she was good, she was very, very good
But when she was bad she was horrid.
CONTENT
The theme or content of the verses is well
within the interest of young children. Many
of the rhymes about animals are favorites.
There are “The Three Little Kittens,” “The
Cat and the Fiddle,” “The Mouse Who Ran
Up the Clock,” “Old Mother Hubbard’s
Dog,” “Mary's Little Lamb,” and “Pussy
Cat, Pussy Cat.” Many of the animals are
personified; some are not. For example, the
kitten in “I Love Little Pussy” is very real:
I love little Pussy
Her coat is so warm
And if I don't hurt her,
She'll do me no harm
So I’ll not pull her tail
Nor drive her away,
But Pussy and I
Very gently will play.
Some of the verses are about simple everyday
experiences and include such incidents as
“Lucy Lockett” losing her purse. The Three
Kittens “losing their mittens,” and “Little
Bo Peep who lost her sheep.” Children’s
pranks are seen in “Ding, dong, bell!” and
“Georgie Porgie.” Everyday misfortunes are
included in “Jack and Jill” and “Humpty
Dumpty.” “Peter, Peter, pumpkin-eater” had
a housing problem, as did the “Old Woman
in the Shoe.” There are several verses about
the weather, a concern of both young and
old. The pleading request of one boy for
“Rain, rain go away” reflects the feelings of
all children. Sympathetic understanding is
felt in the favorite, “The North Wind.”
The North Wind doth blow,
We soon shall have snow
And what will poor Robin do then?
Poor thing!
He'll sit in a barn.
To keep himself warm.
And hide his head under his wing
Poor thing!
HUMOR
A major appeal of Mother Goose is the varied
humor. There is the jolly good fun of:
One misty, moisty morning
When cloudy was the weather,
I chanced to meet an old man
Clothed all in leather;
He began to compliment
And I began to grin —
“How do you do” and “How do you do”
And “How do you do” again!
Two seven-year-olds interpreted this verse in
action by pretending to pass each other; as
one moved to the left, the other moved in
the same direction. Their movements were
perfect for this amusing situation which has
happened to everyone. Young children have
a rather primitive sense of humor which de-
lights in other people’s misfortune. This type
of humor is satisfied by the verses about “Jack
and Jill” and “Dr. Foster”:
Children Read Pictures - 83
Doctor Foster went to Gloucester
In a shower of rain;
He stepped in a puddle up to his middle
And never went there again.
When this kind of humor is exaggerated it
may become sadistic. This explains children’s
delight in:
Fa, Fe, Fi, Fo, Fum
I smell the blood of an Englishman;
Be he alive or be he dead
I’ll grind his bones to make my bread.
They are equally insensitive to the farmer’s
wife cutting off the tails of the three blind
mice, or the dire punishment of “the old man
who would not say his prayers so I took him
by the left leg and threw him down the
stairs.’’ Such action is fun and thoroughly rel-
ished. There is much pure nonsense in
Mother Goose which tickles children’s funny
bones. One such verse is:
I’ll tell you a story
About Jack and Nory;
And now my story’s begun.
I’ll tell you another
About his brother;
And now my story’s done.
Children enjoy similar nonsense verses as rep-
resented by “Rub-a Dub-Dub’’ and “Three
Wise Men of Gotham.”
Different Editions of Mother Goose
One of the appeals of any Mother Goose book
is the attractiveness of its illustrations and
format. Children today are fortunate, indeed,
to be able to choose among many beautifully
illustrated Mother Goose editions. There is
no one best Mother Goose book, for this is
a matter of individual preference. The chil-
dren in every family deserve at least one of
the better editions, however.
ENGLISH EDITIONS
Three classic English editions of Mother
Goose have been treasured for many genera-
tions. While they are perhaps not the most
appropriate selections for the modern Amer-
ican child, they still appeal to children. They
are important for the student of children's
literature for they are the forerunners of
many of our present editions. Mother Goose,
or The Old Nursery Rhymes, illustrated by
Kate Greenaway, is one of these well-loved
books. Tiny in format, the pictures are
quaint, precise and old-fashioned. Her chil-
dren have a quiet decorum which is in keep-
ing with their nineteenth century finery.
However, there is action in these tiny pic-
tures and a feeling for the English rural coun-
tryside and villages.
Quite different in feeling is the edition by
Arthur Rackham entitled Mother Goose The
Old Nursery Rhymes. Rackham uses three
different types of illustrations for his verses;
pen and ink sketches, silhouettes, and colored
pictures. The latter are painted in the typical
Rackham fashion with eerie trees and weird
little men peering from under their mush-
room hats. The illustrations for “The Man
in the Wilderness” shows one tree with a
kindly face and long grotesque arms comb-
ing another tree’s branches! The little man
with large pointed ears obviously belongs to
the elf family. Some of Rackham’s pictures
are almost frightening. For example, in the
illustration for “St. Ives,” the man and his
seven wives are weird in appearance with
huge bony hands and tall dark hats. They
resemble witches in a Halloween parade sur-
rounded by grinning cats. This is a fascinat-
ing, yet somewhat frightening edition of
Mother Goose.
Leslie Brooke’s Ring O’ Roses presents a
completely different impression from that of
the Rackham edition. His pictures are de-
lightfully humorous and gay. The pigs in
“This Little Pig Went to Market” are com-
pletely happy and self-satisfied except for the
poor dejected fellow who had no roast beef.
Even Brooke’s crooked man has a gay crooked
smile. There is laughter and simplicity in
this well-loved edition.
A more recent English edition of Mother
Goose is Lavender's Blue compiled by Kath-
leen Lines in 1954. The illustrations by Har-
t '
Weird trees with faces and fingers
and impish gnomes are characteristic
of Rackham’s work. From Mother
Goose Nursery Rhymes by Arthur
Rackham. Appleton, 1913. Copyright,
1913, Arthur Rackham.
old Jones are unmistakably English in set
ting, costume and mood. The majority of
the colored pictures are done in muted tones
of blue, green and brown. “Old King Cole,”
“I had a little nut-tree,” and “Sing a song of
Sixpence” are more richly colored scenes with
settings in palaces or royal courtyards. Other
settings include the rural English country-
side with winding lanes and thatched roofed
houses, English villages, and a beautifully
composed picture of all the steeples in Lon-
don for “Gay go up and gay go down, to
ring the bells of London town.” This is a
distinctive edition which holds the interest
of five-, six-, and seven-year-olds.
84
AMERICAN EDITIONS
Counterparts for the above editions may be
seen in some of the newer American editions
today. The good humor which is so charac-
teristic of Brooke is equally characteristic of
Rojankovsky’s illustrations in his Tall Book
of Mother Goose. His pictures are bright and
gay; his children are natural looking, some-
times homely and disheveled. It is one of the
few editions which portray children in to-
day’s modern dress. Rojankovsky is particu-
larly skilled in capturing children’s expres-
sions. His “Little Miss Muffet” is terrified;
“Lucy Locket” is thoughtful and pensive;
“Jack Horner” is a picture of greedy inno-
cence. No child ever looked more angelic
than the first picture of “The Little Girl
With a Curl," or more devilish than the sec-
ond! There is no doubt of the action in some
of the stories — one can almost hear the howls
of the girls after Georgie Porgie has kissed
them and run away. Rojankovsky’s animals
are equally appealing. The fleece of Mary’s
“Lucy Locket.* 9 Rojankovsky portrays modern nat-
ural-looking children. From The Tall Book of
Mother Goose by Feodor Rojankovsky. Harper, 1942.
ucy Locket
lost her pocket,
Kitty Fisher
found it;
There was not a penny in it,
Hut a ribbon round it.
A sell-satisfied pig goes to market in Brooke*s hu-
morous style. From A Nursery Rhyme Picture Book ,
No. 2, by Leslie Brooke. Frederick ¥ame, n.d.
lamb can almost be felt. And the coat of the
pussy cat in “Little Robin Redbreast” looks
sleek and silky. This Mother Goose book is as
modern and as much fun as the cowboy suit
and pistol with which Rojankovsky has
dressed his “Jack Be Nimble."
The Real Mother Goose by Blanche Fisher
Wright has long been an established favorite
in American nurseries. The large traditional
pictures remind one of Brooke's work, but
they lack his delightful humor. First pub-
lished in 1916, this book is certainly not as
modern as is Rojankovsky’s. However, it con-
tinues to be a favorite as it is passed down
from one generation to another.
The Mother Goose edition by Tasha Tu-
dor is reminiscent of the work of Kate Green-
away. Her soft pastel pictures are quaint and
charming; her characters loveable. The cos-
tumes of the characters represent many pe-
riods, American Colonial and pioneer, me-
dieval, and Elizabethan. The settings of the
85
86 - Knowing Children's Literature
interiors are as authentic as the costumes.
The rural scenes portray the changing sea-
sons delightfully. The little miniatures in
flowered frames on the end pages and title
page add to the old-fashioned feeling of this
book; it is a cozy volume which will please
the discriminating reader.
One of the most beautiful editions of
Mother Goose is The Book of Nursery and
Mother Goose Rhymes by Marguerite de An-
geli. This is a large book containing nearly
“Little Bo Peep.” Tiny, quaint figures in
old-fashioned dress are characteristic of
Greenaway’s children. From Mother Goose
or the Old Nursery Rhymes by Kate
Greenaway. Frederick Warne, n.d.
“Little Bo Peep.” Reminiscent of Greenaway, Tasha Tudor’s children are pensive and
old-fashioned in their pastel colors. From Mother Goose by Tasha Tudor. Walck, 1944.
Children Read Pictures - 87
two hundred fifty pictures, some of which are
full-page illustrations painted in soft pas-
tels. No one could ever forget the lovely pic-
ture which illustrates “Ride a cock horse to
Banbury Cross.” The fine lady on her beauti-
ful horse is a joy indeed, and so is the rich
detail of the English countryside. There is
an “English feeling” in this edition which is
similar to Lavender's Blue . Marguerite de
Angeli’s children and babies are beautifully
portrayed. This is an edition to be shared,
loved, and treasured from one generation to
the next.
The Tenggren Mother Goose by Gustaf
Tenggren is more stylized than any of the
other ones mentioned. Children will enjoy
his fat rounded figures that have a certain
similarity to Walt Disney's cartoons. Teng-
gren uses bright, rich colors. Unfortunately,
many tiny extraneous decorations appear
throughout the text. One page includes a
picture of a wind mill, when there is no men-
tion of one in the verses given; another pic-
tures a black lamb which does not relate to
any of the rhymes on the page. Such details
might prove confusing to young children.
There are many other editions of Mother
Goose. Space only permits a discussion of
some of the better ones. No matter what edi-
tion is used, however, children should be ex-
posed to the rhythm and rhyme of Mother
Goose. It is part of their literary heritage
and may serve as their first introduction to
the realm of literature.
“I Love Little Pussy." In soft pastels de Angeli portrays sweet faces and delicate hands.
From Book of Nursery and Mother Goose Rhymes by Marguerite de Angeli. Doubleday,
1954. Copyright, 1953, 1954, Marguerite de Angeli.
88 - Knowing Children's Literature
PICTURE BOOKS
The Twentieth Century has witnessed a phe-
nomenal growth in the development of pic-
ture books for young children. 9 During this
period the vital role of pictures in the litera-
ture for children was recognized. Since young
children's appreciation and interest level far
surpass their reading ability, picture books
are important. Pictures not only make the
book more attractive, but they must convey
the same message as the written word. The
child "reads" the picture as the adult reads
the accompanying text. Story and illustra-
tions should be so unified, that having heard
the story once, children can retell it by using
the pictures alone.
Definitions of Picture Books
A picture book is a book in which the pic-
tures are designed as an integral part of the
text. The fusion of both pictures and text
are essential for the unity of presentation.
This is not true of the illustrated book. In
the latter, the pictures are mere extensions
of the text. They may greatly enrich the in-
terpretation of the story, but they are not
necessary for its understanding. Beth and Joe
Krush have illustrated The Borrowers by
Mary Norton. Their intricate line sketches
greatly add to the fantastic nature of this
delightful book, but they are not essential
for its interpretation. Illustrated books are
usually written for those children who have
already achieved considerable fluency in read-
ing skills, while the picture book is generally
planned for young children who do not know
how to read or whose competency in this skill
is very limited.
Picture books are not to be confused with
beginning reading books. Most picture books
require advanced reading ability and are de-
signed to be read to children by adults. They
are written for the young child's interest
and appreciation level and not his reading-
• See Chapter 2 for the history of the rise of the
picture book.
ability level. There is a new genre 10 of pic-
ture books which has been written for the
young child to read independently. This
type of book is still a trade book but it is
written with a controlled vocabulary and be-
comes a transition book between the basic
reader and "library books." Examples of this
type of book include The Cat in the Hat by
Seuss, Nobody Listens to Andrew by Guil-
foile, and Little Bear by Minarik. Some of
these books are very well written and can
take their place in children's literature.
Others are hampered by the necessity for a
controlled vocabulary and remind one of a
stilted primer.
Some authorities differentiate between the
picture book and the picture storybook. The
difference is one which is contingent upon
the development of plot and characters. A
picture book may be an alphabet book, a first
book, or a concept book. In these books the
pictures must be accurate and synchronized
with the text; however, it is not essential
that they provide the continuity required by
a book with a story line. The illustration in
a "first book" for children or an alphabet
book may depict a different object or animal
on each page providing for much variety in
the pictures. An example of such a picture
book would be Weisgard's The Important
Book. In a picture storybook, however, the
same characters and settings are frequently
drawn, while variety is achieved through the
action of the characters. The author must
also consider plot and character development
in the picture storybook rather than just the
theme required for a picture book. An exam-
ple of a picture storybook would be Fatio’s
The Happy Lion. The picture storybook
probably places a greater demand on the
talent of both author and illustrator than
does the picture book. It is important to rec-
10 See Martha Olson Condit, “Trade Books For Be-
ginning Readers,” Wilson Library Bulletin 34:284-
301. December, 1959.
Children Read Pictures - 89
ognize the different requirements of these
two types of books. In many instances how-
ever, the two terms are used interchangeably
to refer to that large group of books in which
pictures and text are considered to be of
equal importance.
The number of picture books designed for
older children is rapidly growing. This trend
merely reflects the greater role of visual pres-
entation in books and magazines for all ages.
Many of these picture books for older boys
and girls may be classified as informational
books in the science or social studies areas
and are reviewed in Chapters 4 and 5. Occa-
sionally, however, a picture storybook de-
signed for somewhat older children is shelved
with other picture books and is consequently
lost to the age level for which it was intended.
This may easily happen to such beautiful but
oversized books as Handforth's Mei Lei or
the d’Aulaires’ Ola and Abraham Lincoln .
The humor and subtle commentaries on
human nature as presented in Thurber’s
Many Moons are completely wasted on very
young children. It is also well to remember
that some picture books are ageless — appeal-
ing to a wide age range of children. A sixteen-
year-old boy from Kentucky enjoyed Lynd
Ward’s wonderful story of The Biggest Bear
as much as do second and third graders. The
slapstick humor of the many books by Dr.
Seuss appeals to all ages. (Particularly fathers
who accept the bed-time story duty while
mother finishes the dishes.)
Criteria for Selection
Probably the best way to learn to judge a pic-
ture book is to look searchingly at the finest
which have been produced. Study the books
of the early masters of the picture book: Ran-
dolph Caldecott, Kate Greenaway and Leslie
Brooke. Compare and contrast the different
winners of the modern Caldecott Award.
Why have these books received recognition?
What makes a fine picture book?
UNITY WITH TEXT
The picture book is one which conveys its
message through two media, the art of paint-
ing and the art of writing. Both media must
Rhythmical curves reflect the repetitive text. From Millions of Cats by Wanda Gag.
Coward-McCann, 1928.
90 - Knowing Children’s Literature
bear the burden of narration. There must be
a unity between the two which is indivisible.
It is difficult to think of Wanda Gdg’s Mil-
lions of Cats without hearing its frequent
refrain about the millions and billions and
trillions of cats. At the same time, the
rhythmical picture of the gnomish little old
man wandering over the rolling hills and
down the winding roads followed by all those
cats is inseparable from the repetitive text.
The action in the text is reflected by the
action in the illustrations. One can almost
hear the howls of the terrific cat fight and the
subsequent silence when only one little kitten
remains. Although one of our earliest picture
books , 11 it still serves as an outstanding ex-
ample of a book in which text and illustra-
tions seem to flow together.
The pictures should not only reflect the
basic mood of the story, they should help to
create it. The delicate pastel pictures of the
forest creatures in Marie Hall Ets’ Play With
Me depict the same quiet mood of its accom-
panying text:
I held my breath and he came nearer
He came so near I could have touched him
11 First published in 1928 (Coward- McCann) .
But I didn’t move and I didn’t speak
And the fawn came up and licked my cheek . 12
Consider the perfection of words and pictures
of Robert McCloskey in capturing the chang-
ing mood of the Maine coast in his Time of
Wonder . He has portrayed the feeling of the
utter stillness in a forest so quiet that you can
hear “the sound of growing ferns.” Using
soft grays and yellow he has conveyed the
warmth and mystery of the early morning
fog in the woods. His ocean storm scene, on
the other hand, is slashed with streaks of
dark blues and emerald greens, highlighted
by churning whites. The text is no longer
quiet and poetic, but races along with “the
sharp choppy waves and slamming rain.”
The storm subsides, the summer ends, and it
is time to leave the island. The beauty of this
book will not reach all children; but it will
speak forever to young and old alike who
have ever intensely loved a particular place
on this earth. Words and pictures so comple-
ment each other that the reader is filled with
quiet wonder and nostalgia when he sees the
family’s boat slip into the sunset and reads
the poetic prose:
12 Marie Hall Ets, Play With Me. Illustrated by the
author. New York: The Viking Press, 1955. p. 20.
The pastel colors of Ets 9 quiet sketches
capture the breathless moment when
“fawn came up and licked my cheek."
From Play With Me by Marie Hall
Ets. Viking, 1955. © 1955, Marie Hall
Ets.
Children Read Pictures - 91
Soft gray and green watercolors portray a foggy morning in a forest so quiet yon conld
hear “the sound of growing ferns.’’ From Time of Wonder by Robert McCloskey.
Viking, 1957. © 1957, Robert McCloskey.
Take a farewell look
At the waves and sky.
Take a farewell sniff
Of the salty sea.
A little bit sad
about the place you are leaving,
A little bit glad
About the place you are going.
It is a time of quiet wonder —
for wondering, for instance:
Where do hummingbirds go in a hurricane ? 13
Both text and pictures should convey the
fun and humor of a story. It is difficult to
imagine the hilarious stories of Dr. Seuss
without his fantastically absurd pictures.
Children and adults alike delight in the
pictures of the faithful elephant, Horton, sit-
ting in a tree on an egg in a nest. The story is
“Robert McCloskey, Time of Wonder. Illustrated
by the author. New York: The Viking Press, 1957.
p. 62.
ridiculous and so are the pictures. The total
impact makes for one of the most amusing
books in children's literature.
Phyllis Krasilovsky and Barbara Cooney
have achieved spontaneity and humor in the
text and sparkling illustrations of The Man
Who Didn't Wash His Dishes. This is a dis-
armingly simple story of a little man who
liked to cook but grew tired of doing all the
dishes so he just stopped washing them. He
was soon forced to eat out of a soap dish, ash
tray, and flower pots. A happy solution helps
him out of his predicament, and he is so
pleased with his neat house that he resolves
never to leave his dirty dishes again. Barbara
Cooney's gay stylized pictures help portray
the tongue-in-cheek fun of this highly im-
probable situation.
Illustrations not only aid in creating the
basic mood of a story, but they also help
portray convincing character development.
92 - Knowing Children’s Literature
Illustrations help build climax as
Johnny’s lovable, mischievous cub
grows From The Biggest Bear
by Lynd Ward. Houghton Mifflin,
1952.
There is a kind of patronization of children
which can be conveyed in pictures as well as
through words. Books which always picture
children as sweet and cherubic, rolling in
green meadows of blooming flowers are
guilty of doing just this. Adults say they are
“cute”; children know that they are basically
dishonest. The characterization in the pic-
tures must correspond to that of the story.
There is no mistaking the devilish quality of
the incorrigible Madeline as she balances her-
self on the ledge of the Pont des Arts in Paris,
or says “pooh-pooh to the tiger in the zoo.”
Following her bout with appendicitis, Bemel-
mans has painted a quiet subdued Madeline
who is propped up in bed watching her
friends play with her gifts. It is with real re-
lief that the reader sees her in the next pic-
ture proudly exhibiting her scar to the
envious eyes of her eleven other friends.
Madeline has recovered!
In the very first picture of that wonderfully
sensitive story, Crow Boy, Yashima presents
“Chibi,” hidden away in the dark space un-
derneath the schoolhouse, afraid of the
schoolmaster, afraid of the children. In sub-
sequent pictures, he is always alone while the
other children come to school in two's and
three's. With the arrival of the friendly
schoolmaster and his discovery of Chibi's
talent to imitate crows, Chibi grows in stat-
ure and courage. On graduation day, he is
pictured standing tall and erect, having been
the only one honored for perfect attendance
at school for six years. Chibi does not com-
pletely change with his new name of Crow
Boy, for this story has the integrity of life it-
self. He remains aloof and independent as he
assumes his increased adult responsibilities.
He has lost the gnawing loneliness of Chibi,
however, as the final pages of text and pic-
tures combine to tell us of his character de-
velopment:
Crow Boy would nod and smile as if he liked
the name. And when his work was done he would
buy a few things for his family. Then he would
set off for his home on the far side of the moun-
tain, stretching his growing shoulders proudly like
a grown-up man. And from around the turn of the
mountain road would come a crow call — the
happy one . 14
Bettina has captured the emotion of real
anger, despair, and joy in her lovely water
colors for the somewhat moralistic story of
The Magic Christmas Tree by Kingman. The
34 Taro Yashima, Crow Boy. Illustrated by the
author. New York: The Viking Press, 1955. p. 37.
Children Read Pictures - 93
faces of Julia and Joanna show undisguised
hatred as they fight in fury over the posses-
sion of their tree. Finally, the joy of a shared
secret replaces their tears as each child real-
izes she has found a new friend. Bettina has
not been afraid to try the difficult job of por-
traying emotions and she has succeeded ad-
mirably.
Illustrations may play an important role
in the development of the climax of the
story. Not all picture books have a climax,
but most picture storybooks do. Lynd Ward
makes skillful use of his pictures to drama-
tize the growth of The Biggest Bear. In the
first pictures, the bear is portrayed as a love-
able but mischievous cub. The next four il-
lustrations picture the chaos he creates in the
kitchen during the summer, Mr. McCarrol’s
trampled cornfield in the fall, the half-eaten
and ruined bacon and hams in the smoke-
house during the winter, and the overturned
sap buckets in the spring. The bear is not
shown in any of these pictures, just the re-
sults of his destructive actions. The text sug-
gests the passage of time, but in no way pre-
pares the reader for the shock of the next
picture of a gigantic bear, standing on his
hind legs gorging himself on the McLeans’
maple syrup! Children invariably exclaim at
this point of the story and go on to take
Johnny’s bear completely to their hearts.
This adventure story has moments of real
pathos, compassion, and humor.
Another requirement of the excellent pic-
ture book is one of accuracy and consistency
with the text. If the story states, as Bemel-
mans does in Madeline, that “In an old
house in Paris that was covered with vines
lived twelve little girls in two straight lines,”
children are going to look for the vines, they
are going to count the little girls, and they
are going to check to see that the lines are
straight. Bemelmans was painstakingly care-
ful to include just eleven little girls in his
pictures after Madeline goes to the hospital.
He failed in one small picture which shows
twelve girls breaking their bread, even
though Madeline was still hospitalized. A
seven-year-old child noticed the error and
to become The Biggest Bear! From The Biggest
Bear by Lynd Ward, Houghton Mifflin, 1952.
called attention to it one day during a story
hour. Pictures and text must be synchronized,
for as the adult reads the the text, the child
is reading the pictures. For this reason, chil-
dren prefer that the picture be on the same
page or facing the part of the story which it
illustrates.
VARIETY OF STYLE
Occasionally the question is raised as to what
style of illustration is best for children's
books. There can be only one answer to that
question; there is no one style which is most
preferred by all children. The results of re-
search in this field are conflicting. The Free-
mans found that children preferred more
stylized or decorative pictures in contrast to
naturalistic ones . 15 Rudisill reported that
“LaVerne and Ruth S. Freeman, The Child and
His Picture Book. Evanston, 111.: The Northwestern
University Press, 1933. pp. 50-66.
94 - Knowing Children’s Literature
Ethereal illustrations in deli-
cate blues and pinks are well
suited for Cinderella. From
Cinderella by Marcia Brown.
Scribner, 1954.
under some conditions realism of picture su-
perseded color as a factor in determining
preference . 16 Malter, who reviewed several
studies in this field, concluded that children’s
preferences for pictures do not place restric-
tions on the form or the subject matter which
can be used in illustration since other factors
appear to influence children's choices . 17
Among the factors he named are children’s
needs, the demands of society, and the
opinion of experts. These research studies
all indicate that under certain circumstances,
children enjoy many different types of paint-
ings and drawings: realistic, stylized, near ab-
stract, and caricatures. The primary question
concerning the style of a picture book ap-
pears to be one of harmony with the text.
The style of the art should be judged solely
by its appropriateness to the story. The
reader expects Weisgard to paint beautifully
1# Mabel Rudisill, “Children’s Preferences for Color
versus Other Qualities in Illustrations,” Elementary
School Journal 52:444—51, April, 1952.
17 Morton S. Malter, “Children’s Preferences for
Illustrative Materials,” Journal of Educational Re-
search 41:578—85, January, 1948.
detailed pictures for the lovely nature story
of The Little Island, while Marcia Brown’s
delicate ethereal illustrations are perfect for
the well-known fairy tale of Cinderella.
Roger Duvoisin’s amusing, childlike pictures
complement the misdirected wisdom of his
proud duck, Petunia. The gay abandonment
and humor of Ruth Krauss' A Very Special
House has been captured completely by the
droll antics of the little boy portrayed in
Maurice Sendak's illustrations. Sendak has
used an interesting technique in his pictures
to separate what is pure fantasy from reality
in the story. His knowing, but impish, small
boy is depicted in color, while his fantastic
imaginings are sketched in line drawings.
These drawings say just as clearly as the text
that the whole story has been in fun. The
completely abstract drawing of Lionni’s
Little Blue and Little Yellow are most appro-
priate to the plot of this unique picture book.
Young children do identify with these ab-
stract shapes and are intrigued by the excit-
ing use of color.
The age of the child for whom the book is
intended places a few restrictions on style.
Young children's eyes are not fully matured
until age seven or eight. Distracting back-
grounds may confuse them. It is difficult for
them to grasp the idea of perspective. One
young child of three looked at a picture
which showed a man in the distance and re-
marked “That’s a funny tiny man down
there.” Just as young children have difficulty
comprehending perspective, so too are they
bothered by the incomplete picture of a
hand, part of an animal or other object. They
want to know where the missing parts are and
tend to become confused. With increased ex-
perience and visual maturity, children are
ready for more complex and varied art styles.
Ideally, children should be exposed to a
wide variety of styles in picture books. Since
appreciation is learned, opportunity to view
some of the best talents in children’s litera-
ture might well have a lasting effect on chil-
dren’s taste in art. Marcia Brown emphasizes
this point:
Perhaps exposure to good picture books in
childhood will not assure an adult taste capable
of appreciating fine art, but I do believe that a
child unconsciously forms an approach to his
visual world of order, rhythm and interesting ar-
rangements of color from the books he sees when
young. The clearness and simplicity of a well-
designed page may start a chain of reactions that
will continue into adulthood. If the child is ac-
customed to seeing varied and interesting shapes
in his picture books, abstract art will not have the
terrors for him that it seems to have for some
adults. His discrimination along with whatever of
his individuality he can manage to preserve, will
be his main defense against the bombardment of
visual materials on his eyes in most of his waking
hours . 18
VARIETY OF MEDIA
Just as there is no one style of art best suited
for children’s literature, so there is no one
medium which is preferred. Illustrations may
be done in brush work, crayon, water color,
colored lithographs, pastels, and woodcut. It
has generally been accepted that photographs
18 Marcia Brown, “Distinction in Picture Books” in
Illustrators of Children's Books 1946-1956, compiled
by Bertha Mahony Miller et al. Boston: Horn Book,
Inc., 1958. pp. 9-10.
Children Read Pictures - 95
are less likely to find favor with children than
other types of media. However, there are out-
standing exceptions to this statement, for ex-
ample, the popular books by that artist pho-
tographer Ylla. Her pictures for The Sleepy
Little Lion , The Duck and Two Little Bears
are simple, large and uncluttered. These
characteristics are also true of The Red Bal-
loon which was photographed in France by
Lamorisse. Young children enjoy the effective
photographs of Dare Wright’s The Lonely
Doll. Again, backgrounds and settings have
been kept simple so that the doll and the
bears stand out in each photograph. Children
like these books both for their stories and
pictures. The question of media then appears
to be one of harmony between text and illus-
trations. Which medium will most nearly
convey the message of the story?
COLOR
Research studies 19 support the statement that
children generally prefer color illustrations.
However, they readily accept pastels and
blacks and whites provided the pictures and
text tell a good story. Think of the perennial
favorites which do not use color in their il-
lustrations; the sepia pictures of McCloskey’s
Make Way for Ducklings and Ward’s The
Biggest Bear, the black and white humorous
illustrations by Lawson for The Story of
Ferdinand and Wee Gillis by Leaf. The use
of color alone is no guarantee of success. The
appropriate use of color is significant.
Certain artists have made most effective
use of color to convey the mood of the story.
In White Snow, Bright Snow, Duvoisin has
utilized a gray-blue to give the feeling of
cold. The reader sees the day grow darker as
the snow becomes thicker and heavier. The
next morning the storm is over. With bril-
liant splashes of red, yellow and dazzling
white, Duvoisin emphasizes the contrast of
this weather change. Leonard Weisgard’s su-
perb colored pictures reveal the beauty of
10 Richard H. Bloomer, “Children’s Preferences and
Responses as Related to Styles and Themes of Illus-
tration,” Elementary School Journal 60:534-340,
March, 1960.
96 - Knowing Children's Literature
the mountains and the tender concern of the
boy shepherd for his Little Lost Lamb. In the
first half of the book, the sparkling color of
the pictures almost makes the reader feel the
warmth of the sun-drenched mountains in
the springtime. The illustrations for the last
half are all done in shades of brownish black
and add to the growing concern for the little
black lamb lost in the mountains which are
now cold, dark, and treacherous in the night.
FORMAT
The actual format of the book is important
in creating its total impact. Today picture
books have many sizes and shapes. Again,
there is no one best size. Children enjoy large
and beautiful books, but witness the popu-
larity of Beatrix Potter’s Tale of Peter Rab-
bit and her other well-loved little books.
Certain cozy, more quiet books almost seem
to require a diminutive format. The Flora
McFlimsey books by Mariana are favorites of
some five- and six-year-old girls. The recent
book, Little Bear's Sunday Breakfast, by
Janice, is the same comfortable small size.
This story is an amusing twist on “Goldi-
locks and The Three Bears” and never fails
to satisfy the nursery school age. A tiny book
with much charm in both pictures and story
Yashima’s use of space conveys Chibi’s loneliness
and isolation. From Crow Boy by Yashima. Yiking.
© 1955, Mitsu and Taro Yashima.
is the quaint A Friend Is Someone Who
Likes You by Joan Walsh Anglund. This
book tells how to recognize a friend and how
to be one. It is an intimate story and its small
size is quite appropriate. A delicate and
poetic little book by Ruth Krauss is Char -
A tiny sketch in pale watercolor shows
a self-confident Peter setting out for
Mr. MacGregor's garden. From A Tale
of Peter Rabbit by Beatrix Potter.
Frederick Warne, 1903.
Children Read Pictures - 97
lotte and the White Horse . Maurice Sendak
has illustrated this book with lovely mystical
pictures. Pictures, story and format combine
to make it one of quiet perfection.
The shape of some books suggests their very
content, for example, A Tree Is Nice by
Udry is vertical in shape. Hahn’s Take a
Giant Step is a tall picture book about stilts
and their uses. The title of Yen Liang's in-
formative book, Skyscraper, marches ver-
tically up the cover. The horizontal shape
of McCloskey's Blueberries For Sal is quite
appropriate for portraying Sal and her
mother on one side of a long sloping hill and
the bear cub and his mother on the other.
The amusing book by Andre Francois called
Crocodile Tears not only simulates the
shape of a crocodile, but is boxed in a carton
which resembles a crate!
Other fine details contribute to the making
of a quality picture book. Sometimes the very
margins and blank space within a book add
to the total impact of the story. In illustrat-
ing Crow Boy, Yashima has made skillful use
of space to help create the feeling of isola-
tion. In the picture of the schoolroom, Chibi
looms large in a foreground of empty space
contrasting with the small group of children
across the room. In Margaret Wise Brown’s
book The Dead Bird, the text of the story
appears on separate white pages interspersed
between full-colored pictures painted in sub-
dued blues and greens. Both the pictures and
plain white pages with their brief text help to
express the sadness, simplicity, and beauty of
this book.
Attention should be given to the spacing
of the pictures and text so that they do not
all appear monotonously in the same place.
The variety of the spacing of the sentences
adds movement to the format of Virginia
Lee Burton’s The Little House . In some in-
stances in this book, the sentences are ar-
ranged to follow the pattern of the road on
the picture page. The books by Ann and
Paul Rand are beautifully designed in every
detail. In I Know A Lot of Things, they have
made effective use of the type, even incorpo-
rating it into a part of the illustrations. On
the last page, for example, the type takes the
form of a tall boy; only his hat and feet are
drawn.
The end papers and very title page of a
story can add beauty and interest to a book.
Notice the striking end papers of Marcia
Brown’s Felice with their design of interlac-
ing black and white gondolas against a dark
blue background. The brilliant red and blue
design on the end pages of Chanticleer by
Cooney suggest the eye of that proud rooster.
The colors and format of this beautiful book
appropriately remind the reader of the illu-
minated manuscripts of Chaucer’s day. The
title page of a book can be lovely too, and
suggest the theme of the book. The title page
of Over in the Meadow by Rojankovsky is
filled with flowers and sparkles with the very
warmth of sunshine.
There are other factors of a picture book
which are most important to consider from
the utilitarian standpoint. These include the
two aspects of quality of paper and binding.
The paper should be dull so that it does not
easily reflect light and it certainly must be
strong to withstand heavy usage. Picture
books should be bound in cloth, side sewn,
and have soil-resistant washable covers. Un-
fortunately, many of our children’s books
are not bound with a durable binding and
have to be rebound for library use. Librari-
ans and schools have to consider durability
of books along with the many other aspects
which go into fine picture-book making.
AUTHENTICITY OF SETTING
Many picture books today give children the
increased value of authenticity of setting.
Young children’s concepts and understand-
ings are no longer limited by the boundaries
of the local grocery store. Television has
opened a window on the world for everyone;
jet planes have made that world more ac-
cessible to all. Boys and girls today are going
to have to grow up in one world, or perhaps
they will not grow up. They need to develop
an early- familiarity with cultures in all parts
of the world. Picture books may contribute
98 - Knowing Children's Literature
Simple, itylized figures create unity in the double-page illustrations colored in bright
bines, greens, and yellows. From The Dead Bird by Margaret Wise Brown. Illustrated
by Remy Gbarlip. W. R Scott, 1958.
by making that which is foreign seem fa-
miliar and fun.
Certain picture books create only the flavor
and feeling for a particular country, while
others vividly portray recognizable scenes.
Leo Politi gives us the feeling of the warmth
and gaiety of the Italian hill towns in his
well-loved autobiographical picture book of
Little Leo. Bettina, however, pictures the
bustling confusion of market day in the spe-
cific town of Grado, Italy, in her amusing
story about a small dog named Pantaloni.
Her picture of the gesturing children in the
typical Italian farmyard, and the one which
shows Beppolino and Pantaloni asleep on top
of an ox cart driven by a drowsing peasant,
truly captures the flavor of rural Italy. In
brillant blues, pink, and lavender, Marcia
Brown has recreated the charm of that an-
cient city, Venice, in her book Felice, the
story of a young gondolier’s cat. Her pictures
recall the extravagant beauty of St. Marks
Square, the Grand Canal swarming with
barcas and gondolas, and the intriguing nar-
row, back canals. Children will be the richer
for having experienced this handsome book.
Lisl Weil introduces us to the charming city
of Florence in her book I Wish, I Wish, a de-
lightful story of Francesca who regularly vis-
ited the Galleria Pitti to watch an American
lady paint miniatures.. Anyone who has vis-
ited Florence will thoroughly enjoy the au-
thentic pictures of the Ponte Vecchio and
the Pitti Palace; children will be pleased with
the story.
It is difficult to discuss authenticity of set-
ting without immediately thinking of the
vivid pictures of Paris which children may
obtain from Bemelmans’ books, Madeline
and Madeline to the Rescue. In these stories
Bemelmans has used well-known landmarks
of Paris such as Notre Dame, the opera build-
ing, Sacr£ Coeur, the Tuileries, and the Pont
Neuf as background for his striking colored
pictures of Madeline and her eleven friends.
Another book, by Titus, as French as its end
papers (which are the colors and stripes of
the French Flag) is Anatole, the amusing
story of a skilled cheese-tasting mouse. Al-
though there are no identifiable places, the
French flavor of this book is unmistakable.
This also can be said for the lovely pictures
by the d’Aulaires in Ola and The Magic
Meadow. The paintings of the stave churches
which can only be found in Norway and the
distinctive interior scenes of Norwegian
houses lend authenticity to Ola. The Magic
Meadow portrays the beauty and charm of
Switzerland in a similar fashion.
There are some picture books which have
Children Read Pictures - 99
their settings in easily recognized American
cities. Every young American may visit the
public gardens of Boston in McCloskey's al-
most classic story of Make Way for Duck-
lings. Don Freeman has captured the magnif-
icent beauty of San Francisco in his Fly High
Fly Low, the story of two pigeons. In May-
belle, The Cable Car, Virginia Lee Burton
has presented a more stylized view of that city
of hills, water, flowers, and cable cars.
The authenticity of the setting of a story is
not as important to boys and girls as it is to
adults. Where a specific setting is suggested,
it should be accurate and authentic. Children
will not like a particular story just because
it is laid in a different city or country. It still
must be a good story and hold their interest.
However, young children’s horizons are
widened by these occasional glimpses of other
worlds which may serve as backdrops for fa-
vorite stories.
Types and Themes of Picture Books
Young children have many and varied inter-
ests. They are filled with “insatiable curios-
ity” about their world. As boys and girls
reach out for richer and wider experiences,
they are ready for many different types of
picture books. They are still interested in the
near and familiar of everyday experiences, but
their imaginations are growing to the point
where they readily accept and identify with
personified machines and animals. They are
curious and actively seek certain types of in-
formation. While their humor continues to
be somewhat primitive, it is developing to ap-
preciate the ridiculous and the obvious in-
congruities of a situation. Today, many areas
of living have been described in picture
books. Certain types and themes seem par-
ticularly suited to the young child. Picture
books which exemplify these themes will be
described in the present chapter. Other ex-
amples are included in Chapters 4 through 8.
FAMILY STORIES
The young child’s world revolves around
himself and his immediate family. He is in-
terested in his own growth and his own fam-
ily relationships. Berman’s When You Were
A Little Baby gives the three- and four-year-
old a secure place in the affections of the
family. It is especially recommended when a
The text flows in the same rhythmical pattern as the road. The little house is personi-
fied with details in windows and door. From The Little House by Virginia Lee Burton.
Houghton Mifflin, 1942.
\r first
the Little Home
was f tightened,
hut jftlT she got umJ to it
she rather liked it.
TItci’ rolled akmg the big mad,
arul tbet rolled along the little rood*.
unril rftev were war out in the countn
When the Link House saw the gfccn gross
anJ heard the birds singing, she didn't fed sad any more:
They went along and along, but (her couldn't seem to find
just the right place.
They tried the Little Moose hoc,
and they tried her there.
Finally they saw s httk htS
in the auddOe of s field . . .
sod apple trees growing around.
“There," sad the gteac-gtcst'^anddaughtcr.
"(fasts rust the ptaoe"
w Ye% k V said the Little House so bcTsetf.
A «flsf was dug on sop of the bill
and ilnwty they moved tbshmne
&om the rood to die hQL '
v ' '
100 - Knowing Children's Literature
new baby comes into the household. The
Shanes’ story of The New Bdby and Flack’s
The New Pet are also enjoyed at this time of
family anticipation. A warm mother-child re-
lationship is expressed in Zolotow's The
Quiet Mother and the Noisy Little Boy . The
Day Daddy Stayed at Home by the Kesslers
tells of children's delight in the wonderful
day when their daddy is snowbound. Grand-
father and I by Buckley tells of the joys of a
leisurely walk with grandfather. The Littlest
One in the Family by Lois Duncan describes
a small boy’s frustration in a family of big
people who could do all the things he
couldn’t do. His father could stay up at night
and watch television and his mother could
iron with a hot iron without burning herself!
The youngest child in the family will iden-
tify with William who couldn't keep up with
his brothers and sisters. Flack’s ending in
Wait For William provides poetic justice for
all children who have been told to hurry.
Krasilovsky’s The Very Little Girl has a
similar theme and emphasizes that growing
up involves both physical growth and growth
in assuming responsibilities. Ruth Krauss
tells the story of a little boy who thought
everything else was growing except himself.
At the end of The Growing Story he has ac-
tual evidence that he has grown, too.
FAMILIAR EVERY-DAY EXPERIENCES
Young children like stories which recount ex-
periences which they already know. The
young child who has helped Mother prepare
for guests will appreciate Brown’s gentle
story, Company's Coming for Dinner . The
little boy in this story helps his mother by
putting away the guests’ coats. The reader
shares his enjoyment of the soft furry feeling
of one wrap. The familiar experience of
being frightened by a Noise in the Night is
amusingly told by Ann Alexander. The little
girl in this story is surprised to find that the
strangest sound of all is her Daddy’s snoring.
The Dawsons’ A Walk in the City discusses
all the sights and sounds a small boy enjoys
when he goes for a walk in the park with his
mother. Golden MacDonald has written the
text and Weisgard has illustrated Red Light,
Green Light . This book tells of the cars,
people, and animals who stop at the traffic
light during the day. The Park Book by
Charlotte Zolotow recreates a child’s day in
the park. Saturday Walk by Ethel Wright
points out all the interesting sights that are
discovered on a walk with Daddy. Ruth
Krauss tells the simple story of a little boy
who plants The Carrot Seed in the face of
much derision from others. Its subsequent
growth provides restitution for all young
children whose plans have been questioned.
The common experience of losing a tooth is
described by McCloskey in One Morning in
Maine . Young children will enjoy the fa-
miliar story of a boy who invariably loses a
mitten from each new pair. They will laugh
at the amusing ending created by Helen Kay
in One Mitten Lewis. Yashima's Umbrella is
an appealing story of a three-year-old Japa-
nese girl, born in New York, who longs for a
rainy day so she may use her new blue um-
brella and red boots. Children who love to
“stamp in the wetness” will like Kuskin’s
story of James and the Rain .
NEW EXPERIENCES
Stories about new activities or places give the
young child a broader background of experi-
ence. MacDonald’s The Little Island helps
children gain an understanding of the con-
cept of an island. The beautiful, realistic pic-
tures by Leonard Weisgard make this an out-
standing book. A little girl tells of her trip to
the beach, the joy of playing in the sand,
of swimming, and other events in Dorothy
Koch’s I Play at the Beach. Tresselt and Du-
voisin introduce children to the sounds and
sights of the seashore in I Saw the Sea Come
In. The child who lives on the farm may learn
about the city in Wake Up, City! and the
city-dweller may learn about the farm in
Wake Up, Farm! Both these books are by
Tresselt and Duvoisin. Margaret Wise Brown
has emphasized the sounds of the city and the
country in her two well-loved books, The
Children Read Pictures - 101
City Noisy Book and The Country Noisy
Book . Children appreciate Lenski’s straight-
forward presentation of information in her
stories of the activities of that eternal small
boy in adult clothing, Mr. Small. In Little
Farm, Mr. Small cares for his farm and uses
his machinery in the cheerful, matter-of-fact
way that characterizes his actions in The
Little Auto, Cowboy Small and Little Train .
Children are curious about their world. They
want answers to their questions, but not com-
plex answers. Lois Lenski’s books satisfy chil-
dren without overwhelming them.
CONCEPT BOOKS
This desire for information has led to the
development of a completely new type of
book for young children called a “concept
book.” This is a book which describes the di-
mensions of an abstract idea through the use
of comparisons. One of the earliest examples
was Budney’s A Kiss Is Round. Beautifully
illustrated, this book explores the dimensions
of “roundness” through such verses as:
Round is the moon
When it’s bright and full.
Round is a ball
Of knitting wool,
A kiss is round,
And so is a hug;
The rim of a glass,
And the lid of a jug;
The top of a hole
When it's carefully dug . 20
All Falling Down by Gene Zion tells a little
boy of the leaves which fall down, the snow,
his block house, but concludes with a sur-
prise ending. “Daddy lifts him up and tosses
him in the air. He doesn't jail down . Daddy
catches him." Miriam Schlein’s books, Heavy
Is a Hippopotamus and Fast Is Not a Lady-
bug are both concept books which discuss
comparative values of weight and speed.
Concept books do not have plots; the child’s
20 Blossom Budney, A Kiss Is Round. Illustrated by
Vladimir Bobri. New York: Lothrop, Lee & Shepard
Co., Inc., 1954. Unpaged.
Duvoisin has captured the dazzling heauty
of winter snow with sharply contrasting
reds, yellows, and blacks. Cover from
White Snow , Bright Snow by Alvin Tresselt.
Illustrated by Roger Duvoisin. Lothrop,
1947.
WHITE SNOW
BRIGHT SNOW
BY ALVIN TRESSELT
ILLUSTRATED BY ROGER DUVOISIN
102 - Knowing Children's Literature
interest is held by the information given and
illustrations.
WEATHER AND THE SEASONS
Closely related to concept books are books
about the weather. Weather and seasonal
changes are important events in the young
child’s life. He enjoys Tresselt and Duvoi-
sin’s books. White Snow , Bright Snow and
“Hi, Mister Robin!”, which predict the com-
ing of a snowstorm in one, and the eventual
arrival of spring in another. In White Snow,
Bright Snow, the discomfort of adults
brought about by a snow storm is contrasted
with the joy of the children over its arrival.
In The Big Snow, the Haders have realis-
tically pictured the plight of woods’ animals
facing real discomfort and danger as the re-
sult of a big snow. Charlotte Zolotow has
written beautifully descriptive prose to ac-
company the lovely pictures by Margaret
Graham in The Storm Book. Children may
follow the progress of a storm in this book
from the first faint rumbling of thunder to
the last graceful arch of the rainbow. In Go-
ing Barefoot, Aileen Fisher has written de-
lightful singing verse to describe a young
child’s longing for the days of June:
How soon
how soon
is a morning in June
a sunny morning or afternoon
in* the wonderful month
of the Barefoot Moon?
I can go barefoot
like kittens and dogs
bears and beetles
and hoppity frogs
as soon
as it's June! 21
The varied soft-colored pictures of Adrienne
Adams are in perfect harmony with this
rhythmical text. The same exhilaration of
living which is expressed in Going Barefoot
is captured in tJdry’s The Moon Jumpers .
With beautiful luminous illustrations, Sen-
21 Aileen Fisher, Going Barefoot. Illustrated by
Adrienne Adams. New York: Thomas Y. Crowell,
1960. Unpaged.
dak pictures the joys of four children dancing
barefoot in the moonlight of a quiet mid-
summer evening. This is a beautiful book,
both in its sensory prose and imaginative
pictures. Zolotow has captured a child’s feel-
ings for the seasons in her book, Over and
Over, which Garth Williams so effectively il-
lustrated. Time concepts are most difficult
for a young child to comprehend. Here they
are explained in meaningful terms through
the exciting events of the seasons of the year
— the first snowfall, Christmas, Valentine’s
Day, Easter, vacation, Halloween, Thanks-
giving and a birthday party.
ANIMAL STORIES
Children of all ages enjoy stories about ani-
mals; young children especially enjoy this
theme. Two books by Grace Skaar, All About
Dogs , Dogs, Dogs and Nothing But Cats,
Cats, Cats are favorites of three-year-olds who
are happily content with the twenty words in
the text and the large, uncluttered pictures.
The five-year-old likes the simple but excit-
ing adventures of Marjorie Flack’s Angus
stories. All cat-lovers are intrigued by the
soft furry-looking drawings of Clare New-
berry’s Smudge and the sleek black illustra-
tions of April's Kittens. Her pictures are so
realistic that young children automatically
reach out to touch them. Leonard Weisgard
has painted exquisite pictures for the story
of Mrs. Mallard's Ducklings, while the story
of Make Way for Ducklings by McCloskey
has become a classic in the kindergarten. No
child worries about the vintage of the cars in
the story, for he is too concerned with the
safety of Mrs. Mallard and her ducklings in
the bustle of Boston traffic. Six- and seven-
year-olds are highly entertained by the story
of George, a big dog who simply moved in
with a family. George becomes a problem to
every member of the family, but Phyllis Row-
and has made him a very lovable dog — and
George stays. The Two Little Bears by Ylla
is a photographic story of two cubs lost in the
woods. A wise old crow helps them home
again.
Children naturally personify animals just
Children Read Pictures - 103
Duvoisin’s sketches of a sophisticated lion reflect
the French flavor and humor of the text. From The
Happy Lion by Louise Fatio. Illustrated by Roger
Duvoisin. Whittlesey, 1954.
as they do their toys. Many stories for young
children also employ this technique. The
nonsense verses of Johnny Crow's Garden by
Brooke amuse preschoolers. They enjoy such
phrases as the “prepasseroiis rhinoserous”
and the activities of these dignified animals.
This book has many of the qualities and ap-
peals of Mother Goose. Beginning with the
dearly loved Peter Rabbit stories by Beatrix
Potter, boys and girls later appreciate that
almost perfect story by Marjorie Flack, Ask
Mr. Bear. This seemingly simple tale includes
repetition, talking animals, an exciting plot,
suspense, a surprise ending, and the security
of a warm mother-child relationship; all the
elements of a good story for a young child.
Tony Palazzo’s large and bold pictures make
Susie the Cat and Charley the Horse equal
favorites with kindergarten and first-grade
children. The humor and adventure of H. A.
Rey’s Curious George books account for chil-
dren’s love of this comical monkey. Almost as
popular is the sad and amusing tale, by
Gay color and cartoonlike style personify the little
tugboat. From Little Toot by Hardie Gramatky.
Putnam, 1939.
Payne, of Katy No-Pocket — that poor kan-
garoo who was faced with the dilemma of
having no pocket for her baby. More sophisti-
cated, perhaps, but thoroughly enjoyed are
the Happy Lion books written by Louise
Fatio and illustrated by her husband, Roger
Duvoisin.
Young children not only personify their
animals; they readily personify such inani-
mate objects as machines. Most of the books
written by Virginia Lee Burton involve per-
sonification; The Little House , Katy and the
Big Snow, and Mike Mulligan and His
Steam Shovel. Katy is a snowplow who saves
the day by plowing out a whole village. Five-
and six-year-olds love the story of Mike
Mulligan and his steam shovel, Mary Ann.
The Little House has a charming personality
of her own; and while she thinks and reacts
as a human being, she never does anything
contrary to her condition as a house. No
child should miss the lovely rhythmical pic-
tures of Virginia Lee Burton which so clearly
104 - Knowing Children's Literature
reflect her early interest in ballet. Hardie
Gramatky has written several books which
personify the inanimate and are most popu-
lar with boys and girls. Little Toot is the
story of a headstrong tugboat in the New
York harbor who refuses to accept his tug-
boat responsibilities until a time of crisis.
Hercules by the same author-illustrator tells
of the last run of a horse-drawn engine, while
Loopy is a disobedient airplane. Gramatky's
illustrations have a Walt Disney flavor, but
his stories contain true excitement. Walters'
The Steam Shovel That Wouldn f t Eat Dirt
is the story of a rebellious steam shovel who
finally discovers his true purpose in life. In
an age of automation, it is only natural to
expect many more such stories of personified
machines in children's literature.
ADVENTURE STORIES
Television-raised children of today crave ex-
citement and suspense in some of their
stories. They delight in the intrepid adven-
tures of Little Tim and the Brave Sea Cap-
tain , Tim All Alone and Tim to the Rescue
by Ardizzone. Although Little Tim goes
through storm and shipwreck, he always
emerges the hero and returns safely home.
Dalgliesh has recounted the breath-taking
adventure of Jonathan as he goes over the
mountain stoutly chanting, “There are no
Bears On Hemlock Mountain " — until he
meets two of them! The inevitable doom of
Tworkov’s The Camel Who Took a Walk
is only relieved at the last moment by her
calm decision to turn around and go back!
Each of these books has a well-constructed
plot, discernible build-up to the climax, and
provides competition for any television pro-
gram. TV-oriented children also enjoy the
Indian theme found in the Haders' The
Mighty Hunter and The Brave Little Indian.
Five- and six-year-olds are particularly in-
trigued with the suggested hand actions which
can accompany The Brave Little Indian by
the Martins.
FANTASTIC AND HUMOROUS
Just as young children crave some excitement
in their stories, so do they seek fancy and
fun. Children from five to six are imagina-
tive, but not highly so. Cappa investigated
the types of storybooks enjoyed by some
twenty-five hundred kindergarten children
and concluded that children this age liked
stories with a slight element of unreality,
provided it was not too far removed from
their understandable experiences. 22 Children
accept the personification of machines, ani-
mals and toys; however, the sophisticated
fairy tale with its subplots is not enjoyed.
The subtle overtones of the amusing Many
Moons by Thurber are beyond their compre-
hension. They do enjoy the folk tales, partic-
ularly those involving animals like the Three
Billy Goats or The Three Bears. A favorite
modern story written in folk-tale style is the
ever popular Caps For Sale by Slobodkina.
The subtitle, “A Tale of a Peddler, Some
Monkeys, and Their Monkey Business," gives
a clue to the humor of this story. The pre-
posterous tale, The Duchess Bakes a Cake by
Kahl, delights six- and seven-year-olds. Young
children enjoy Anglund's imaginative story.
The Brave Cowboy. Every morning a pre-
schooler eats his breakfast, brushes his teeth,
and feeds the cat. He then puts on his hat,
pulls on his boots and buckles on his two-
holster belt and “becomes” a cowboy. In his
pretending, he rounds up a camp of rustlers,
hunts Indians, shoots a rattlesnake, captures
an angry mountain lion, or rides across the
prairie. All of his wild imaginings are illus-
trated in vivid red, while the little boy cow-
boy is done in black and white. Children
know this is a “pretend story" but they iden-
tify readily with The Brave Cowboy. A more
fanciful tale for primary age children is the
story of The March Wind by Inez Rice. The
exciting vivid pictures by Bobri help to cre-
ate this magical story of a little boy who
found the March Wind’s hat in a gutter one
morning. Instead of returning it, he wore it.
Somehow the hat made him feel as brave as
a soldier, wild as a cowboy, important as a
judge, and just as gay as a song-and-dance
“Dan Cappa, “Types of Storybooks Enjoyed by
Kindergarten Children,” Journal of Educational Psy-
chology 49:555-7, March, 1956.
Children Read Pictures - 105
man — until the March Wind demanded that
he return his hat. Miss Rice describes this
story as “a moment of a little boy's belief.”
Much of children's humor is simple and
obvious. They enjoy the pure nonsense found
in Is This You? by Krauss and Was It a Good
Trade? by de Regniers. Freeman’s Mop Top
tells the story of a little boy who didn’t want
his hair cut until he was mistaken for a floor
mop. Children in kindergarten and first
grade find this story of mistaken identity hi-
larious. They also laugh at the silly antics of
the boy in Ruth Krauss’ book who decides to
spend The Backward Day. They feel very
superior to the silly goose Petunia who as-
sumes she has acquired wisdom because she
finds a book. Duvoisin’s pictures show Pe-
tunia holding her head higher and higher
until it stretches off the page. Children heart-
ily enjoy the incongruity of Weisgard’s Clean
Pig forcing the entire family into new pat-
terns of cleanliness. Crockett Johnson in
Harold and the Purple Crayon combines
humor with fantasy in this highly amusing
tale of a small boy who “draws” himself in
and out of exciting adventures. Some of the
Dr. Seuss stories are too sophisticated for
children under six. However, they never fail
to sympathize with Horton Hatches an Egg
and laugh uproariously at the conclusion.
They appreciate the tongue-in-cheek humor
ol the author’s wild descriptions of the ani-
mals in And to Think that I Saw It on Mul-
berry Street.
The humorous manipulation of language
patterns is part of the good fun of many of
the books by Seuss. Ruth Krauss has capital-
ized upon children’s enjoyment of the sound
of words in A Very Special House. Part of the
joy of this book is the thought of a very spe-
cial house where you can do all the things
you can’t do in a regular house. The fact that
this is a pretend house is finally admitted “in
very special language” on the last page:
Sendak’s droll figures are as much fun as the amusing text. From A Very Special House
by Ruth Krauss. Illustrated by Maurice Sendak. Harper, 1953.
106 - Knowing Children's Literature
I know a house —
and it’s not up in a tree
or underneath the bed —
Oh it's right in the middle —
Oh it's ret in the meedle —
Oh it's root in the moodle of my head head
head . 28
Humor in children's literature should always
consist of laughing with the characters, never
laughing at them. Bemelmans’ Madeline is
for children (the reader laughs with her in
her gay and daring antics) ; whereas Eloise
by Kay Thompson is for adults (the reader
laughs at her). Whenever an author produces
amusement at a child's expense, at his pre-
cociousness, his innocence, or his frankness,
his writing is for sophisticated adult con-
sumption, not children's enjoyment.
Illustrators of Picture Books
The illustrations for a picture book are as
important as the text. The interested student
of children's literature needs to have a wide
knowledge of the characteristics of the vari-
ous illustrators’ work. Today there are so
many artists illustrating children’s books,
that it is very difficult to develop a frame of
reference for remembering the unique quali-
ties of each well-known book artist. Perhaps
great illustrators defy classification unless
they could be recognized by their very ability
to adapt style, media, and approach to the
particular demands of each work. It is dan-
gerous, therefore, to attempt to categorize
the talents of creative artists. However, for
the purpose of helping the student begin to
identify leading contributors to the field of
illustration for children, the following de-
scriptions have been made. This list includes
only picture-book artists and does not men-
tion the many fine artists who are illustrating
books for older boys and girls. It is by no
means an exhaustive list of illustrators for
younger children, and the authors are well-
aware of many omissions. The style of paint-
ing or drawing of most illustrators is as char-
13 Ruth Krauss, A Very Special House. Illustrated
by Maurice Sendak. New York: Harper & Brothers,
1953. Unpaged.
acteristic as their signatures. This is not
always the case, however. Marie Hall Ets has
used at least three different approaches to her
book-illustrating. Her Play With Me and
The Cow Party present a quiet mood both by
the text and the pastel illustrations. The
black and white effect of Ets' “paper batik”
work for the Little Old Automobile and Mr.
Penny* s Race Horse is most appropriate for
the folk-tale quality of these stories. The bril-
liant use of color in her Caldecott winner,
Nine Days to Christmas, is a departure from
both of these latter approaches. Garth Wil-
liams is another artist who varies his style
with the text. He is well-known for his soft,
furry-looking animals in such books as The
Rabbits ’ Wedding and Wait Till the Moon
is Full. His brightly colored illustrations of
the little girl in Over and Over reflect a ten-
derness towards childhood. Williams has
also illustrated books for children in the
middle grades. He spent ten years making
hundreds of black and white sketches for the
recent uniform edition of the Wilder “Little
House” books. These illustrations capture
the emotions of the family and present clear
details of frontier living. Williams has also
illustrated E. B. White's two books, Stuart
Little and Charlotte’s Web, with humorous
black-and-white drawings.
“quiet and quaint illustrations”
The work of some book artists may be best
described as being quiet or demure. Eliza-
beth Orton Jones uses soft pastel colors for
her pictures. She is particularly skilled in
capturing expressions on children's faces. Al-
most all of her group pictures of boys and
girls include children of other races, Negro
or Oriental. Her children may wear Girl
Scout or Brownie uniforms, glasses, or rum-
pled jeans, for they are always natural and
appealing-looking. Marguerite de Angeli is
also adept at portraying children. The babies
in her Mother Goose book are delightful.
She uses soft, yet clear colors in a restrained
quiet manner. The background and settings
in her Mother Goose, Thee, Hannah!, and
Skippack School are authentic and detailed.
Children Read Pictures - 107
Tasha Tudor’s work is also quaint and quiet.
The diminutive size of her books increases
this cozy reaction. Her children are fre-
quently dressed in old-fashioned clothes as
in Pumpkin Moonshine, Linsey Woolsey,
One Is One, and Edgar Allan Crow . The
Flora McFlimsey books by Mariana may be
placed in this category. Her illustrations for
Little Bear's Sunday Breakfast by Janice are
delightful and most appropriate for this
modern tale based upon the The Three
Bears . The illustrations by Mary Chalmers
for Big Brother by Zolotow are distinguish-
able by their shy sweetness. Kevin and
George Appleton, written and illustrated
by Chalmers are both childlike and diminu-
tive. Palmer Brown has portrayed the tiny
world of mice in his small volumes, Cheerful
and Something for Christmas. His pictures
are charmingly detailed. Joan Walsh Ang-
lund’s books, A Friend Is Someone Who Likes
You, Love Is a Special Way of Feeling, and
Look Out the Window have an old-fashioned,
Victorian quality. Even her illustrations for
The Brave Cowboy show gentleness and del-
icacy under the bravado of five-year-old
make-believe. Children enjoy these quiet and
quaint books when they are intimately shared
in the family. The size of most of these books
makes it almost impossible to use them with
a classroom group.
“realistic pictures”
The world of nature has been realistically
portrayed in the work of Adrienne Adams.
Her delicately colored illustrations for Aileen
Fisher’s Going Barefoot show much variety
in her approach. The pictures for Goudey’s
book, Houses from the Sea, present a detailed
illustration of a particular shell against a
beautiful soft seascape. Weisgard uses rich
greens and blues to introduce children to
The Little Island. Using only soft greens, he
has given life to the many little creatures
and plants described in Margaret Wise
Brown’s poetry book, Nibble Nibble. He has
also illustrated Brown’s popular The Gol-
den Egg Book with beautifully detailed back-
grounds of wild flowers, birds, and little
woodland animals. Weisgard has vividly por-
trayed The Little Lost Lamb by MacDonald
and Mrs. Mallard's Ducklings by Delafield.
With rich oranges and browns, he has cap-
tured the flavor of early-American art in his
own Mr. Peaceable Paints. However, his stylis-
tic illustrations of the “Noisy Books” by
Brown are very different from his usual, re-
freshingly realistic pictures. The Haders por-
tray the animal world realistically with
richly colored pictures in The Big Snow,
Lost in The Zoo, and Wish on the Moon.
The lovely still scenes of The Big Snow won
them the Caldecott Award.
The books of Dorothy Lathrop show the
gentle world of nature. She paints small
animals with delicate precision in her book.
Let Them Live. An earlier book, Animals
of the Bible was the first recipient of the Cal-
decott Medal. Zhenya Gay's soft pencil
sketches portray appealing scenes from na-
ture in her book Look ! Her children are
whimsical and appealing. Clare Newberry is
best known for her cuddly or sleek kittens
sketched in characteristic poses. In April's
Kittens she has used a velvety black on white
background which makes a sharp contrast.
The cats and kittens in Smudge have a soft.
Charcoal drawings create the texture of sleek, soft
fnr and show realistic movement and postures.
From Aprils Kittens by Clare Newberry. Illustra-
tions by Clare Turlay Newberry. Harper, 1940.
108 - Knowing Children's Literature
rounded, textured look. This tangible qual-
ity is characteristic of Newberry’s work.
Rich black on white pictures are used by
Wesley Dennis to illustrate his horse stories,
Flip and Flip and the Cows. These are popu-
lar picture books for second and third grad-
ers. Dennis illustrates many of Marguerite
Henry’s excellent horse stories for older boys
and girls. C. W. Anderson is well-known for
his illustrations of horses, also. His Blaze
stories are much-liked by third graders. His
horses are well-drawn and finely propor-
tioned.
Lynd Ward has told his exciting story of
The Biggest Bear through the medium of
realistic black and white drawings. The bear
has amazingly human expressions, but
Johnny, his family, and neighbors are rugged
men of the land. This is Ward’s only picture
book although he is well-known for his dra-
matic illustrations of biographies. Bold black
and white illustrations are utilized by Rob-
ert Lawson for his book. They Were Strong
and Good. Lawson also used black-and-white
drawings to illustrate Munro Leaf’s amusing
stories of Ferdinand and Wee Gillis. These
illustrations showed more of the humor
which so characterizes Lawson’s illustrations
for his books for older children such as Ben
and Me , Mr. Twigg f s Mistake, and Mr. Re-
vere and I. The finely detailed pen and ink
landscapes and small animals pictured in
Rabbit Hill represent a different style of il-
lustrating by this versatile artist. Du Bois
draws beautifully precise pictures which are
full of wit and action. Some are black and
white and others are handsome color draw-
ings. The illustrations for Lion are highly
imaginative yet detailed. The favorite “Otto”
stories portray the adventures of a huge but
believable yellow dog. The ever popular
Make Way for Ducklings was illustrated by
McCloskey with warm sepia drawings. His
ducklings and the midtown scenery of the
Boston Public Garden are true to life in
every detail. This illustrator used only blue
and white in Blueberries for Sal and One
Morning in Maine. His people look real, par-
ticularly his sometimes unkempt, but ap-
pealing, children. In Time of Wonder, Mc-
Closkey uses rich water colors for the first
time. The varied pictures in this award-win-
ning book are less realistic than his others,
but complement the mood of his lovely text.
Barbara Cooney’s illustrations are difficult
to describe as they change with each new
work. Her Caldecott book, Chanticleer, will
be remembered for its beautiful, clear colors
and well-designed pages. The little poor farm
of the Middle Ages with its wattled fence and
thatched roof is as carefully drawn as the
brilliant ochre and vermillion rooster and
the sly, rusty fox. The children in this book
are natural looking and appealing. Cooney’s
illustrations for The Man Who Didn't Wash
His Dishes written by Krasilovsky are more
stylized than those of Chanticleer, although
they have the same clear coloring.
The illustrations .for The Box with Red
Wheels and The Rooster Crows by the Peter-
shams are distinguished by their brilliance
and realism. Their book, The Christ Child,
is beautifully illustrated in clear rich colors.
Rojankovsky’s gay, bright pictures for his
Mother Goose book are humorous and filled
with action. His children are naughty, seri-
ous, happy, and irresistible! His quiet and
more sophisticated illustrations for Frog
Went A Courtin are particularly appropri-
ate to this old verse. The d’Aulaires have
used deep, glowing pictures to illustrate their
story-biographies of Lincoln, Columbus, Po-
cahontas, and Buffalo Bill. They have cap-
tured the rugged awkwardness of youth in
their portrayal of Lincoln. Their illustra-
tions for Ola and Nils reflect the peasant art
of the Scandinavian countries. James Daugh-
erty’s illustrations are powerful and vigorous
and seem to have the very flavor of the pio-
neer spirit in them. He has illustrated two
picture books, Andy and the Lion and El-
kins’ The Loudest Noise in the World. His
pictures portray movement and action.
“modern stylized pictures”
The work of many book artists can be char-
acterized as stylized, even though they vary
from the flat looking pictures in primary
Children Read Pictures - 109
color of Marjorie Flack to the striking mod-
ern illustrations of Mordvinoff. The versa-
tile art of Duvoisin ranges from the sketchy
line drawings of his Petunia books to bril-
liant crispness in White Snow , Bright Snow .
His illustrations for the Happy Lion books
are more detailed. In Frog in the Well by
Tresselt, Duvoisin has captured the cool
greens of the frog’s world in contrast to the
springlike world outside. He has used bril-
liant splashes of color in his own book The
House of Four Seasons. Helen Sewell’s style
of illustrating has changed throughout the
years from a realistic to a more modern ap-
proach. Her stiff, stylized illustrations for
Dalgliesh’s Thanksgiving Stoiy are in keep-
ing with those stern pilgrims. Children read-
ily accept the modern blue-and-white illus-
trations for Bears on Hemlock Mountain by
the same author.
The Swiss artist, Carigiet, combines a
stylized, childlike technique of painting with
fascinating attention to detail. His full-color
large illustrations for A Bell for Ursli, Fiorina
and the Wild Bird , and The Snowstorm , by
Chon/, are beautiful and exciting. Bettina
reflects the cosmopolitan background ol her
life in her lively and interesting water col-
ors. Most of the settings of her picture books
are in Italy, particularly her stories of Cocolo
and Pantaloni. The pictures by Yashima for
Crow Boy , Umbrella , and Village Tree are
as unusual as they are beautiful. Small de-
tails such as the design of a patch on a boy’s
shirt, the lines on the ceiling, or on a desk
are all considered worthy of illustration. The
pictures of the lovely sweeping pattern of the
village tree and the far away countryside of
Chibi’s house, are not easily forgotten. The
art work of Politi has a distinctively childlike
simplicity. His pictures have almost a primi-
tive effect, showing people with oversized
feet and hands. He has used muted colors in
Song of the Swallows and rich, deeper tones
in The Columbus Story. His story, The But-
terflies Come, shows the return of the Mon-
arch butterflies in a picture brilliant with
orange butterflies.
Helen Stone illustrates city scenes in Mc-
Ginley's The Horse Who Lived Upstairs and
All Around the Town . Her pictures are mod-
ern and somewhat sketchy in appearance.
Esphyr Slobodkina uses a highly stylized ap-
proach in her Caps for Sale , Wonderful Feast
and Brown’s Little Farmer. Using small dots,
she builds up her picture in a fashion re-
sembling pointilism. Her people and animals
seem flat. Remy Charlip’s illustrating is also
stylized and somewhat childlike. His illustra-
tions for The Dead Bird by Brown make use
of strongly contrasting greens, blues and yel-
lows. He has captured vividly the curious and
yet serious concern of these young children
who find a dead bird.
Simont has illustrated several books for
Krauss such as The Backward Day, The
Happy Day, The Big World and The Little
House. He also illustrated and received the
Caldecott Award for A Tree Is Nice. His
style varies with the subject. The Happy Day
shows many quite realistic animals running
to see the first flower of spring. His people
are frequently caricatured as in A Tree Is
Nice and The Backward Day. He makes good
use of brilliant colors to illustrate alternate
pages of A T ree Is Nice. Phyllis Rowand has
established a singular style of illustrating.
The pictures for her book, George, are as hu-
morous and sophisticated as the story which
tells of a dog who adopts a family. Her styl-
ized illustrations are characterized by many
lines. The animals are all drawn with the
tight curly coat of a poodle. The pictures
have much movement and action in them.
The illustrations by Ungerer for Crictor and
Emile are sophisticated and amusing. Crictor
is an obliging snake who helps Boy Scouts
learn to tie knots and allows himself to be
used as a jump rope and slide. Emile is an
equally amazing octopus. Ungerer ’s quiet and
restrained illustrations give a certain dignity
and belief to these highly preposterous situa-
tions. The ethereal and impressionistic scenes
of Cinderella by Marcia Brown are sugges-
tive of fairyland. Using pastel colors of pinks
and blues, Miss Brown has created the deli-
cate land of make believe. In Felice she has
used deep purples and blues contrasted with
110 - Knowing Children's Literature
yellow to capture the flavor of Venice. Her
people and scenes have the same sketchy mys-
tical quality which is characteristic of her
Cinderella . Louis Slobodkin 's work is very
similar to Marcia Brown's. The pictures by
Slobodkin suggest the fairy tale quality of
the delightful modem fantasy by Thurber,
Many Moons . His figures are sketchy and
not complete. With a few lines, he suggests
the grandeur of the palace in Shoes Fit for a
King by Helen Bill. Slobodkin uses brighter
colors than Marcia Brown. An occasional
brilliant red will call attention to a particu-
larly important object in the story. Both these
artists are skillful interpreters of make-be-
lieve.
FOLK ART
The rhythm of both the text and pictures
of Millions of Cats by Wanda Gag suggests
a certain folk quality. Her winding land-
scapes flow with the repetitive phrases of her
stories. A curved line of a tree is repeated by
the curve of the little old man's back. Her
people look like dwarfs or gnomes and reflect
the artist's Bohemian background. Her illus-
trations are small; some are in black and
white, while others such as those for Nothing
At All make use of bright oranges and greens.
Virginia Lee Burton’s work is reminiscent of
that of Gag. The rolling hills in Burton’s
The Little House reflect similar rhythm and
unity with the text. With lovely colors. Bur-
ton has painted the changing seasons and the
changing countryside. Her pictures for Katy
and The Big Snow and Mike Mulligan show
the same use of curving lines and rhythmical
pattern. The pictures for May belle, The
Cable Car are more highly stylized and make
use of a decorative border framing each pic-
ture.
Virginia Kahl's modem folk tales are illus-
trated with bold reds, greens, and yellows.
The characters in The Duchess Bakes a Cake
and Plum Pudding for Christmas look like
the little wooden figures which are made in
the Black Forest of Germany. The borders
in Maxie and A way Went Wolfgang add to
the folk art quality of Kahl's work. Francoise
also uses bright gay colors to illustrate her
Jeanne-Marie books. Her pictures reflect the
decorative skill of peasant art. Jeanne-Marie
and her sheep Patapon are painted clearly
against borders of bright flowers and birds.
The designs of the Pennsylvania Dutch have
been presented to children by Katherine Mil-
hous in her books, An Egg Tree and Appo-
Ionia's Valentine. These designs are authen-
tic and preserve a particular folk art of the
United States.
CARTOON-LIKE PICTURES
Some illustrators for children utilize a style
of art which has a cartoonlike quality. The
sketchy line drawings of Ardizzone for his
“Little Tim” books are similar to some of
the newspaper funnies. His earlier books even
include his characters' conversations in bal-
loons like the comics. However, Ardizzone’s
use of blurred water color to suggest a storm
at sea, his ability to portray action, and his
characterization of people place his work far
above the comic-strip artist. Bemelmans' pic-
tures also have a cartoonlike quality, both
when they are painted in simple yellows and
blacks or when they make use of a riot of
color. His pictures too have much action —
Miss Clavel racing through the halls, Mad-
eline falling off the bridge, or the twelve
little girls marching in two straight lines.
The pictures by H. A. Rey for his Curious
George books are filled with action. They are
flat, brightly colored, and emphasize the hu-
mor and plot of the story. The illustrations
by Jean de Brunhoff for his Babar stories
have this same flat quality. Children enjoy
their bright colors and humor. The words
“On Beyond Imagination” could best de-
scribe some of the wildly exaggerated pic-
tures by Dr. Seuss. Seuss utilizes brilliant
primary colors and line sketches to produce
his zany world of imagination. The pictures
for some of his earlier books such as Horton
Hatches An Egg, McElligot’s Pool, And to
Think That I Saw It on Mulberry Street are
less grotesque than some of his more recent
illustrating.
Margaret Graham has drawn comical
characters for many of Gene Zion's amusing
stories such as Harry, The Dirty Dog, No
Roses For Harry, Dear Garbage Man and
The Plant Sitter. These illustrations are
large, simple, usually painted in dull greens
and oranges, with heavy black outlines. Gra-
ham's beautiful landscapes for The Storm
Book by Zolotow are in striking contrast to
her other bold cartoonlike pictures. Maurice
Sendak has captured the hilarious action and
ridiculous fun of Ruth Krauss' tales of A
Very Special House, I Want To Paint My
Bathroom Blue, and Til Be You and You Be
Me. The uninhibited caperings of his droll
children reflect the almost adult humor of
A Hole Is To Dig. The “animalities" in Lit-
tle Bear by Minarik have been pictured with
this same droll humor. In The Moon Jump-
ers Sendak used cool colors to portray pure
joy rather than the humor of his other work.
The simple purple line drawings of Crockett
Johnson for Harold And The Purple Crayon
stories are fresh and amusing. They are so
popular that Johnson has almost been type
cast to illustrate this particular kind of story.
Hardie Gramatky has written and illustrated
the stories of Loopy, Little Toot and Her-
cules. He personifies his illustrations with
the same engaging humor which character-
izes his stories. His pictures have action and
personality. They, however, do reflect the
years Gramatky worked for Walt Disney.
DESIGN ARTISTS
A few book artists are modern designers. The
brilliant pictures of Paul Rand in Sparkle
and Spin and I Know a Lot of Things reflect
his interest in design. The very print of the
page may be utilized to form a part of Rand’s
pictures. Bold black and white will be off-
set by a splash of purple or orange. Stylized
drawings may be mixed with an almost pho-
tographic sketch of sea shells. The total effect
of his pictures is one of bright unity. The
large sophisticated cut-out books by Munari
are ingeniously designed to appeal to the
manipulating interest of young children. The
Birthday Present tells the story of Mark, the
truck driver's attempt to deliver his son's
Frasconi has used brilliant splashes of color and
modern woodcuts to illustrate “The Cock That
Crowed in the Morn.” From The House That Jack
Built by Antonio Frasconi. Harcourt, 1958.
present. The pages become smaller and
smaller as Mark has to change his truck for
a car, his car for a motorcycle, then a bike,
a scooter and so on until he gets within sight
of his house which looms larger and larger
until it becomes a full-sized page again. The
fun of Munari's books is in their uniqueness
and simplicity. Some of the most original
books of recent years for young children have
been created by Antonio Frasconi. He has
used boldly colored woodcuts to illustrate
his See and Say, a book of simple words in
four languages and The House That Jack
Built. These modern woodcuts are hand-
somely designed and make an exciting book
for children.
CAMERA ARTISTS
Some photographers are particularly adept
at composing pictures which delight children.
Ylla is perhaps best known for her many
photographic stories of animals. In close-up
shots of the Two Little Bears she has cap-
tured the almost human expression of mis-
chievousness, boredom, curiosity, and con-
112 - Knowing Children's Literature
tentment. All these pictures portray action
in amusing situations. The photographs for
her Animal Babies are especially appealing
and whimsical. Tensen has presented clear
pictorial accounts in her books Come to The
Farm and Come to The City. Her pictures
are large and focus on only one or two ani-
mals or objects. Distracting backgrounds are
eliminated. Dare Wright has pictured the
world of toys in her “Lonely Doll” books.
Even though she is photographing still-life
scenes, her pictures contain action. Large
close-ups of her dolls and stuffed bears make
them seem very much alive. Anna Riwkin-
Brick is noted for her living photographs of
children from many parts of the world in
her book, Eva Visits Noriko-San, and in the
books by Astrid Lindgren, My Swedish Cous-
ins and Sia Lives on Kilimanjaro . Her photo-
graphs capture the universal appeal of chil-
dren, and the background and spirit of other
lands. Children appear to enjoy photo-
graphic stories provided they are presented
with simplicity and skill by a camera artist
who knows children and his subject.
SUMMARY
Children cannot be introduced to books too
early. The young child in the early stages
of language development enjoys the process
of identifying and naming the objects or ani-
mals found in alphabet books and counting
books. He is attracted to the language pat-
tern of Mother Goose, the alliterative sound
of the words, the rhyme, and nonsense verse.
The characters and stories of Mother Goose
appeal to him also. Every child should have
an opportunity to see and hear at least one
of the many varied and beautiful Mother
Goose editions.
The twentieth century has witnessed the
phenomenal growth of picture books and
picture storybooks. These books are well-
written and beautifully illustrated. The text
and pictures are so unified that children may
“read” the pictures as an adult reads the
story. Children do not appear to enjoy any
one style of illustrating better than another.
They prefer colored pictures, but some of
the most popular picture storybooks are
black and white. More important than color,
media, or style in the making of a picture
book is the question of appropriateness to
the text. Do the pictures reflect the mood,
action, and characterization of the story?
Themes of picture storybooks mirror the in-
terests and concerns of the young child for
himself and family, for everyday experiences
and new experiences. His curiosity about
many items is reflected in the development
of new “concept books” or “awareness”
books. Frequently these are closely related
to books about the weather or different sea-
sons. Children are always interested in sto-
ries about animals. Young children enjoy
personified animals or talking beasts. They
frequently personify their toys and particu-
larly like stories in which machines may be
personified. Adventure, humor, and fantasy
appeal to all ages. The style, color, and me-
dia preferences of over sixty illustrators of
picture books were identified and described.
It was recognized that this list could not do
justice to the many fine illustrators of chil-
dren’s books.
SUGGESTED ACTIVITIES
1. Read a story to a three-year-old. See how
many different ways you can provide for
his participation in the story.
2. Compare three different editions of
Mother Goose noticing selection of verses,
illustrations, and format.
3. Share with the class one or two examples
of a concept book. What is the concept
which is explained? How well does the
author present his material?
4. Present several books which use different
styles of illustrations and different media
to a group of primary children. Which
ones do they seem to prefer? Why?
5. Compare several books which have been
illustrated by the same person. Is it pos-
sible to identify his particular style of art?
Children Read Pictures - 113
Does he vary it with different content?
6. Begin to develop a card file on well-known
illustrators. What is their particular style
of illustrating? Do they tend to illustrate
a particular subject (cats, for example) ?
Do they prefer working in a certain me-
dium? What books have they illustrated
previously? Find interesting anecdotes to
tell to children about these illustrators,
which will make their art work more in-
teresting and vital to students.
7. Compare books which have been devel-
oped on the same subject — lions, bears,
farms, the new baby, etc. How do they
differ in their presentation?
8. Observe children during a story hour
either at school or during the library story
hour. Record their reactions — either ver-
bal comments, facial expressions, or body
movement.
RELATED READINGS
1. Heffernan, Helen and Vivian E. Todd. The Kinder-
garten Teacher. Boston: D. C. Heath, 1960.
Chapter Twelve, “Introducing Children To
Literature”, describes the place of picture books
in the kindergarten program. The authors dis-
cuss the selection of books, storytelling, inter-
pretation of literature and developing apprecia-
tion for books. They include a list of books and
films which may be appropriately used with the
five-year-old.
2. Mahony, Bertha E., et al. Illustrators of Children's
Books 1744-1945. Boston: The Horn Book Inc.,
1947.
The first of two volumes, this book includes the
history and development of illustrated books.
The article by Helen Gentry titled “Graphic
Processes in Children’s Books” gives a detailed
but clear description of the various methods and
processes used in printing illustrations. Lynd
Ward’s article, “The Book Artist: Yesterday and
Tomorrow” describes the importance of picture
books for children, the contributions of artists
from abroad, and the variety of character and
style of illustrating.
3. Miller, Bertha Mahony, et al. Illustrators of Chil-
dren's Books 1946-1956. Boston: The Horn Book,
Inc., 1958.
This book is a supplement to the above ref-
erence. It contains many short biographical
sketches of illustrators and several excellent dis-
cussions of the art in children's books. Marcia
Brown’s article, “Distinction in Picture Books"
and Lynd Ward's “The Book Artist: Ideas and
Technique” are both highly recommended.
4. Miller, Bertha Mahony and Elinor W. Field.
Caldecott Medal Books: 1938-1957 . Boston: The
Horn Book, 1957.
This volume includes a biography and the ac-
ceptance speech of each artist who has won the
Caldecott Award. Their acceptance papers fre-
quently reveal their convictions about illustrating
for children; they are fascinating reading. In a
final article titled, “What Is A Picture Book"
Esther Averill candidly evaluates the award-
winning books. She is not always in agreement
with the awards and her article makes lively
reading.
5. Smith, Lillian H. The Unreluctant Years. Chicago:
American Library Association, 1953.
Lillian Smith considers five picture books in a
depth analysis of the criteria for fine illustrating
for young children. Her chapter, “Picture Books"
j is a discriminating appraisal of contemporary
picture books.
6. White, Dorothy Neal. About Books for Children.
New York: Oxford University Press, 1958.
An Australian librarian writes knowingly about
children’s books. She includes many American
publications in her well-written chapter on pic-
ture books. She also emphasizes the cosmopolitan
aspect of the many picture books illustrated by
artists from European backgrounds.
CHAPTER REFERENCES
Alexander, Anne. Noise in the Night. Pictures by
Abner Graboff. Skokie, 111.: Rand McNally & Com-
pany, 1960.
Anderson, Clarence W. (author-illustrator) . Billy and
Blaze. New York: The Macmillan Company, 1936.
Blaze Finds the Trail. New York: The Mac-
millan Company, 1950.
Anglund, Joan Walsh (author-illustrator) . The
Brave Cowboy. New York: Harcourt, Brace & Com-
pany, 1959.
A Friend Is Someone Who Likes You. New
York: Harcourt, Brace & Company, 1958.
Look Out the Window. New York: Harcourt,
Brace & Company, 1959.
Love Is a Special Way of Feeling. New York:
Harcourt, Brace & Company, 1960.
Ardizzone, Edward (author-illustrator) . Little Tim
and the Brave Sea Captain. New York: Henry Z.
Walck, Inc., 1955.
Tim All Alone. New York: Henry Z. Walck,
Inc., 1957.
1 14 - Knowing Children’s Literature
Tim to the Rescue . New York: Henry Z.
Walck, Inc., 1949.
d’Aulaire, Ingri and Edgar Parin (authors-illus-
trators) . Abraham Lincoln . New York: Doubleday
& Company, Inc., 1957.
The Magic Meadow . New York: Doubleday &
Company, Inc., 1958.
Ola. New York: Doubleday & Company, Inc.,
1952.
Bemelmans, Ludwig (author-illustrator) . Madeline .
New York: Simon & Schuster, Inc., 1959.
Madeline’s Rescue . New York: The Viking
Press, 1955.
Berman, Rhoda. When You Were a Little Baby . Illus-
trated by Mariana. New York: Lothrop, Lee &
Shepard Co. Inc., 1954.
Bettina, pseud. (Bettina Ehrlich) . (author-illus-
trator) . Cocolo Comes to America. New York:
Harper & Brothers, 1949.
Pantaloni. New York: Harper & Brothers,
1957.
Bill, Helen E. Shoes Fit For a King. Illustrated by
Louis Slobodkin. New York: Franklin Watts, Inc.,
1956.
Brooke, Leslie (author-illustrator) . Johnny Crow’s
Garden. New York: Frederick Wame & Company,
Inc., 1903.
Brooke, Leslie (illustrator) . Ring O’ Roses. New
York: Frederick Wame & Company, Inc., n.d.
Brown, Marcia (author-illustrator) . Cinderella. New
York: Charles Scribner’s Sons, 1954.
Felice. New York: Charles Scribner’s Sons,
1958.
Brown, Margaret Wise. The City Noisy Book. Illus-
trated by Leonard Weisgard. New York: Harper &
Brothers, 1939.
The Country Noisy Book. Illustrated by
Leonard Weisgard. New York: Harper & Brothers,
1940.
The Dead Bird. Illustrated by Remy Charlip.
New York: William R. Scott, Inc., 1958.
The Duck. Photographs by Ylla. New York:
Harper & Brothers, 1952.
Golden Egg Book. Illustrated by Leonard
Weisgard. New York: Golden Press, 1947.
The Important Book. Illustrated by Leonard
Weisgard. New York: Harper & Brothers, 1949.
Little Cowboy. Illustrated by Helen Stone.
New York: William R. Scott, Inc., 1948.
Little Farmer. Illustrated by Helen Stone.
New York: William R. Scott, Inc., 1948.
Nibble, Nibble . Illustrated by Leonard Weis-
gard. New York: William R. Scott, Inc., 1959.
Sleepy ABC. Illustrated by Esphyr Slobodkina.
New York: Lothrop, Lee and Shepard Co. Inc.,
1953.
Sleepy Little Lion. Photographs by Ylla. New
York: Harper & Brothers, 1947.
Wait Till the Moon Is Full. Illustrated by
Garth Williams. New York: Harper & Brothers,
1948.
Brown, Myra Berry. Company’s Coming for Dinner.
Illustrated by Dorothy Marino. New York: Franklin
Watts, Inc., 1959.
Brown, Palmer (author- illustrator) . Cheerful . New
York: Harper & Brothers, 1957.
Something for Christmas. New York: Harper
& Brothers, 1958.
Brunhoff, Jean de (author-illustrator) . Babar and
Father Christmas. New York: Random House, Inc.,
1949.
The Story of Babar. New York: Random
House, Inc., 1933.
Buckley, Helen. Grandfather and I. Illustrated by
Paul Galdone. New York: Lothrop, Lee and
Shepard Co. Inc., 1959.
Budney, Blossom. A Kiss Is Round. Illustrated by
Vladimir Bobri. New York: Lothrop, Lee and
Shepard Co. Inc., 1954.
Burton, Virginia (author-illustrator) . Katy and the
Big Snow. Boston: Houghton Mifflin Company,
1943.
The Little House. Boston: Houghton Mifflin
Company, 1942.
Maybelle, the Cable Car. Boston: Houghton
Mifflin Company, 1952.
Mike Mulligan and His Steam Shovel. Boston:
Houghton Mifflin Company, 1939.
Chalmers, Mary (author-illustrator) . George Apple-
ton. New York: Harper & Brothers, 1957.
Kevin. New York: Harper & Brothers, 1957.
Chonz, Selina. A Bell for Ursli. Illustrated by Alois
Carigiet. New York: Henry Z. Walck, Inc., 1953.
Fiorina and the Wild Bird. Illustrated by
Alois Carigiet. New York: Henry Z. Walck, Inc.,
1953.
The Snowstorm. Illustrated by Alois Carigiet.
New York: Henry Z. Walck, Inc., 1958.
Clark, Kay. All by Herself. Illustrated by Allen Shaw.
Plakie Toys, 1950.
All by Himself. Illustrated by Allen Shaw.
Plakie Toys, 1950.
Cleary, Beverly. The Hulabaloo ABC. Illustrated by
Earl Thollander. Berkeley, Calif.: Parnassus Press,
1960.
Cooney, Barbara (illustrator) . Chanticleer and the
Fox. By Geoffrey Chaucer. New York: Thomas Y.
Crowell, 1958.
Dalgliesh, Alice. The Bears on Hemlock Mountain.
Illustrated by Helen Sewell. New York: Charles
Scribner’s Sons, 1952.
The Columbus Story. Illustrated by Leo Politi.
New York: Charles Scribner’s Sons, 1955.
The Thanksgiving Story. Illustrated by Helen
Sewell. New York: Charles Scribner’s Sons, 1954.
Children Read Pictures - 115
Daugherty, James (author- illustrator) . Andy and the
Lion. New York: The Viking Press, 1938.
Dawson, Rosemary and Richard. A Walk in the City.
Illustrated by Richard Dawson. New York: The
Viking Press, 1950.
De Angeli, Marguerite (author-illustrator) . Book of
Nursery and Mother Goose Rhymes. New York:
Doubleday 8c Company, Inc., 1954.
Skippack School. New York: Doubleday &
Company, Inc., 1939.
Thee, Hannah! New York: Doubleday 8c Com-
pany, Inc., 1940.
Delafield, Celia. Mrs. Mallard’s Ducklings. Illustrated
by Leonard Weisgard. New York: Lothrop, Lee and
Shepard Co. Inc., 1946.
Dennis, Wesley (author-illustrator) . Flip. New York:
The Viking Press, 1941.
Flip and the Cows. New York: The Viking
Press, 1942.
De Regniers, Beatrice. Was It A Good Trade? Illus-
trated by Irene Haas. New York: Harcourt, Brace
& Company, 1956.
Doisneau, Robert and Arthur Gregor. 1 2 3 4 5.
Philadelphia: J. B. Lippincott Co., 1956.
DuBois, William Pene (author-illustrator) . Lion.
New York: The Viking Press, 1956.
Duncan, Lois. The Littlest One in the Family. Pic-
tures by Suzanne K. Larsen. New York: Dodd,
Mead 8c Company, 1960.
Duvoisin, Roger A. (author-illustrator) . A for the
Ark. New York: Lothrop, Lee 8c Shepard Co. Inc.,
1952.
The House of Four Seasons. New York: Loth-
rop, Lee 8c Shepard Co. Inc., 1956
Petunia. New York: Alfred A. Knopf, Inc.,
1950.
Two Lonely Ducks. New York: Alfred A.
Knopf, Inc., 1955.
Eichenberg, Fritz (author-illustrator) . Ape in a Cape.
New York: Harcourt, Brace 8c Company, 1952.
Dancing in the Moon. New York: Harcourt,
Brace 8c Company, 1955.
Elkin. Benjamin The Loudest Noise in the World.
Illustrated by James Daugherty. New York: The
Viking Press, 1954.
Ets, Marie Hall (author-illustrator) . The Cow’s
Party. New York: The Viking Press, 1958.
Little Old Automobile. New York: The Viking
Press, 1948.
■ Mister Penny’s Race Horse. New York: The
Viking Press, 1956.
Play With Me. New York: The Viking Press,
1955.
Ets, Marie Hall and Aurora Labastida. Nine Days to
Christmas. Illustrated by Marie Hall Ets. New
York: The Viking Press, 1959.
Falls, Charles Buckles (author-illustrator) . ABC
Book. New York: Doubleday 8c Company, Inc., 1923.
Fatio, Louise. Happy Lion. Illustrated by Roger
Duvoisin. New York: Whittlesey House, 1954.
Fisher, Aileen. Going Barefoot. Illustrated by Adri-
enne Adams. New York: Thomas Y. Crowell, 1960.
Flack, Marjorie (author-illustrator) . Angus and the
Cat. New York: Doubleday 8c Company, Inc., 1931.
Ask Mi. Bear. New York: The Macmillan
Company, 1932.
New Pet. New York: Doubleday & Company,
Inc., 1943.
Wait for William. Illustrated by Marjorie
Flack and Richard Holberg. Boston: Houghton
Mifflin Company, 1935.
Francois, Andre (author-illustrator) . Crocodile Tears.
Universe Books, 1956.
Franchise, pseud. (Francoise Seignobosc) . (author-
illustrator) . The Gay ABC. New York: Charles
Scribner’s Sons, 1939.
Jeanne-Marie Counts Her Sheep. New York:
Charles Scribner’s Sons, 1951.
Jeanne-Marie in Gay Paris. New York: Charles
Scribner’s Sons, 1956.
Springtime for Jeanne-Marie. New York:
Charles Scribner’s Sons, 1955.
The Things I Like. New York: Charles
Scribner’s Sons, 1960.
Frasconi, Antonio (author-illustrator) . The House
That Jack Built. New York: Harcourt, Brace 8e
Company, 1958.
See and Say. New York: Harcourt, Brace Sc
Company, 1955.
Freeman, Don (author-illustrator) . Fly High, Fly
Low. New York: The Viking Press, 1957.
Mop Top. New York: The Viking Press, 1955.
Friskey, Margaret. Chicken Little Count-to-Tcn.
Illustrated by Katherine Evans. Chicago: Childrens
Press Inc., 1946.
Seven Diving Ducks. Pictures by Lucia Patton.
New York: David McKay Company, 1940.
Gag. Wanda (author-illustrator) . The ABC Bunny.
New York: Coward-McCann, Inc., 1933.
Millions of Cats. New York: Coward-McCann,
Inc., 1928.
Nothing at All. New York: Coward-McCann,
Inc., 1941.
Gav, Zhenya (author-illustratoT) . Look! New York:
The Viking Press, 1952.
Goudey, Alice E. Houses from the Sea. Illustrated by
Adrienne Adams. New York: Charles Scribner’s
Sons, 1959.
Gramatky, Hardie (author-illustrator) . Hercules.
New York: G. P. Putnam’s Sons, 1940.
Little Toot. New York: G. P. Putnam's Sons,
1939.
Loopy. New York: G. P. Putnam’s Sons, 1941.
Greenaway, Kate (illustrator) . Mother Goose, or The
Old Nursery Rhymes. New York: Frederick Wame
& Company, Inc., n.d.
116 - Knowing Children’s Literature
Guilfoile, Elizabeth. Nobody Listens to Andrew.
Illustrated by Mary Stevens. Chicago: Follett Pub-
lishing Company, 1957.
Hader, Berta and Elmer (authors-illustrators) . Big
Snow. New York: The Macmillan Company, 1948.
The Mighty Hunter. New York: The Mac-
millan Company, 1943.
Hahn, Hannelore. Take a Giant Step. Illustrated by
Margot Zemach. Boston: Little, Brown & Company,
1960.
Handforth, Thomas (author-illustrator) . Mei Li.
New York: Doubleday & Company, Inc., 1938.
Janice, pseud. (Janice Brustlein) . Little Bear's Sun-
day Breakfast. Illustrated by Mariana. New York:
Lothrop, Lee & Shepard Co. Inc., 1958.
Johnson, Crockett (author-illustrator) . Harold and
the Purple Crayon. New York: Harper & Brothers,
1958.
Kahl, Virginia (author-illustrator) . Away Went Wolf-
gang. New York: Charles Scribner’s Sons, 1954.
The Duchess Bakes a Cake. New York: Charles
Scribner’s Sons, 1955.
Maxie. New York: Charles Scribner’s Sons,
1956.
Plum Pudding for Christmas. New York:
Charles Scribner’s Sons, 1956.
Kay, Helen. One Mitten Lewis. Illustrated by Kurt
Werth. New York: Lothrop, Lee & Shepard Co.
Inc., 1955.
Kessler, Ethel and Leonard P. The Day Daddy Stayed
At Home. New York: Doubleday & Company, Inc.,
1959.
Kingman, Lee. The Magic Christmas Tree. Illustrated
by Bettina. New York: Ariel Books, 1956.
Koch, Dorothy. I Play at the Beach. Illustrated by
Feodor Rojankovsky. New York: Holiday House,
1955.
Krasilovsky, Phyllis. The Man Who Didn't Wash His
Dishes. Illustrated by Barbara Cooney. New York:
Doubleday & Company, Inc., 1950.
The Very Little Girl. Illustrated by Ninon.
New York: Doubleday & Company, Inc., 1953.
Krauss, Ruth. The Big World and the Little House.
Illustrated by Marc Simont. New York: Harper &
Brothers, 1956.
Backward Day. Illustrated by Marc Simont.
New York: Harper & Brothers, 1950.
Carrot Seed. Illustrated by Crockett Johnson.
New York: Harper & Brothers, 1945.
Charlotte and the White Horse. Illustrated
by Maurice Sendak. New York: Harper 8c Brothers,
1955.
Growing Story. Illustrated by Phyllis Row-
land. New York: Harper & Brothers, 1947.
The Happy Day. Illustrated by Marc Simont.
New York: Harper & Brothers, 1949.
A Hole Is to Dig. Illustrated by Maurice
Sendak. New York: Harper & Brothers, 1952.
I Want to Paint My Bathroom Blue. Illus-
trated by Maurice Sendak. New York: Harper 8c
Brothers, 1956.
I'll Be You and You Be Me. Illustrated by
Maurice Sendak. New York: Harper 3c Brothers,
1954.
Is This You ? Illustrated by Crockett Johnson.
New York: William R. Scott, Inc., 1955.
A Very Special House. Illustrated by Maurice
Sendak. New York: Harper 8c Brothers, 1953.
Kunhardt, Dorothy (author-illustrator) . Pat the
Bunny. New York: Simon & Schuster, Inc., 1940.
The Telephone Book. New York: Simon 8c
Schuster, Inc., 1942.
Kuskin, Karla (author-illustrator) . James and the
Rain. New York: Harper & Brothers, 1957.
Lamorisse, Albert (author-illustrator) . The Red
Balloon. New York: Doubleday & Company, Inc.,
1957.
Langstaff, John. Over in the Meadow. Illustrated by
Feodor Rojankovsky. New York: Harcourt, Brace &
Company, 1957.
Larrick, Nancy. Color ABC. Illustrated by Rene
Martin. New York: Platt & Munk Co.. 1959.
Lathrop, Dorothy P. (illustrator) . Animals of the
Bible. Accompanying text by Helen Dean Fish.
Philadelphia: J. B. Lippincott Co., 1937.
Lathrop, Dorothy P. (author-illustrator) . Let Them
Live. New York: The Macmillan Company, 1957.
Lawson, Robert (author-illustrator) . Ben and Me.
Boston: Little, Brown & Company, 1939.
Mr. Revere and I. Boston: Little, Brown 8c
Company, 1953.
Mr. Twigg’s Mistake. Boston: Little, Brown
& Company, 1947.
Rabbit Hill. New York: The Viking Press,
1944.
They Were Strong and Good. New York: The
Viking Press, 1940.
Leaf, Munro. The Story of Ferdinand. Illustrated by
Robert Lawson. New York: The Viking Press, 1936.
Wee Gillis. Illustrated by Robert Lawson.
New York: The Viking Press, 1938.
Lenski, Lois (author-illustrator) . Cowboy Small. New
York: Henry Z. Walck, Inc., 1949.
Little Auto. New York: Henry Z. Walck, Inc.,
1934.
Little Farm. New York: Henry Z. Walck, Inc.,
1942.
Little Train. New York: Henry Z. Walck, Inc.,
1940.
Liang, Yen (author-illustrator) . Skyscraper. Phila-
delphia: J. B. Lippincott Co., 1958.
Lindgren, Astrid. My Swedish Cousins. Photographs
1 by Anna Riwkin-Brick. New York: The Macmillan
Company, 1960.
Sia Lives on Kilimanjaro. Photographs by
Anna Riwkin-Brick. New York: The Macmillan
Company, 1959.
Lines, Kathleen M. (compiler) . Lavender's Blue.
Children Read Pictures - 117
Pictures by Harold Jones. New York: Franklin
Watts, Inc., 1954.
Lionni, Leo (author-illustrator) . Little Blue and
Little Yellow. New York: McDowell, Obolensky
Inc., 1959.
McCloskey, Robert (author-illustrator) . Blueberries
for Sal. New York: The Viking Press, 1948.
Make Way for Ducklings. New York: The
Viking Press, 1941.
One Morning in Maine. New York: The Vik-
ing Press, 1952.
Time of Wonder. New York: The Viking
Press, 1957.
MacDonald, Golden, pseud. (Margaret Wise Brown) .
The Little Island. Illustrated by Leonard Weisgard.
New York: Doubleday & Company, Inc., 1946.
Little Lost Lamb. Illustrated by Leonard
Weisgard. New York: Doubleday & Company, Inc.,
1945.
Red Light , Green Light. Illustrated by
Leonard Weisgard. New York: Doubleday & Com-
pany, Inc., 1944.
McGinley, Phyllis. All Around the Town. Illustrated
by Helen Stone. Philadelphia: J. B. Lippincott Co.,
1948.
The Horse Who Lived Upstairs. Illustrated
by Helen Stone. Philadelphia: J. B. Lippincott Co.,
1944.
Mariana, pseud. (Marian Curtis Foster) . (author-
illustrator) . Miss Flora McFlimsey and the Baby
New Year. New York: Lothrop, Lee & Shepard Co.
Inc., 1951.
Miss Flora McFlimsey’s Birthday. New York:
Lothrop, Lee & Shepard Co. Inc., 1952.
Miss Flora McFlimsey’s Easter Bonnet. New
York: Lothrop, Lee & Shepard Co. Inc., 1951.
Martin, Bill and Bernard. The Brave Little Indian.
New York: Holt, Rinehart & Winston, Inc., 1951.
Meeks, Esther. One Is the Engine. Illustrated by Ernie
King. Chicago: Follett Publishing Company, 1947.
Milhous, Katherine (author-illustrator) . Appolonia’s
Valentine. New York: Charles Scribner's Sons, 1954.
The Egg Tree. New York: Charles Scribner's
Sons, 1950.
Minarik, Else H. Little Bear. Pictures by Maurice
Sendak. New York: Harper & Brothers, 1957.
Moore, Lilian. My First Counting Book. Illustrated
by Garth Williams. New York: Simon & Schuster,
Inc., 1956.
Munari, Bruno (author-illustrator) . Animals for
Sale. Cleveland: World Publishing Company, 1957.
The Birthday Present. Cleveland: World
Publishing Company, 1959.
Who’s There? Open the Door ! Cleveland:
World Publishing Company, 1957.
Newberry, Clare T. (author-illustrator) . April’s Kit-
tens. New York: Harper & Brothers, 1940.
Smudge. New York: Harper & Brothers, 1948.
Norton, Mary. The Borrowers. Illustrated by Beth
and Joe Krush. New York: Harcourt, Brace &
Company, 1953.
Palazzo, Tony (author-illustrator) . Charley the
Horse. New York: The Viking Press, 1950.
Susie the Cat. New York: The Viking Press,
1949.
Payne, Emmy. Katy No-Pocket. Illustrated by H. A.
Rey. Boston: Houghton Mifflin Company, 1944.
Petersham, Maud and Miska (authors-illustrators) .
The Box With Red Wheels. New York: The Mac-
millan Company, 1949.
The Christ Child. New York: Doubleday 8c
Company, Inc., 1931.
The Rooster Crows. New York: The Mac-
millan Company, 1945.
Politi, Leo (author-illustrator) . The Butterflies Come .
New York: Charles Scribner's Sons, 1957.
Little Leo. New York: Charles Scribner's Sons,
1951.
Song of the Swallows. New York: Charles
Scribner’s Sons, 1949.
Potter, Beatrix (author-illustrator) . The Tale of
Peter Rabbit. New York: Frederick Warne & Co.,
Inc.. 1903.
Rackham, Arthur (illustrator) . Mother Goose. Cen-
tury, 1913.
Rand, Ann and Paul. I Know a Lot of Things. New
York: Harcourt, Brace & Company, 1956.
Sparkle and Spin. Illustrated by Paul Rand.
New York: Harcourt, Brace & Co., 1957.
Rey, Hans Augusto (author- illustrator) . Anybody at
Home? Boston: Houghton Mifflin Company, 1958.
Curious George. Boston: Houghton Mifflin
Company, 1941.
Let’s Feed the Animals. Boston: Houghton
Mifflin Company, n.d.
Where’s My Baby? Boston: Houghton Mifflin
Company, 1956.
Rice, Inez. The March Wind. Illustrated by Vladimir
Bobri. New York: Lothrop, Lee & Shepard Co. Inc.,
1957.
Riwkin-Brick, Anna (author-illustrator) . Eva Visits
Noriko-San. New York: The Macmillan Company,
1957.
Rojankovsky, Feodor (illustrator) . The Tall Book of
Mother Goose. New York: Harper 8c Brothers, 1942.
Rowand, Phyllis (author-illustrator) . George. Boston:
Little, Brown 8c Company, 1956.
Schlein, Miriam. Fast Is Not a Ladybug. Illustrated
by Leonard Kessler. New York: William R. Scott,
Inc., 1953.
Heavy Is a Hippopotamus. Illustrated by
Leonard Kessler. New York: William R. Scott, Inc.,
1954.
Seuss, Dr., pseud. (Theodor S. Geisel) . (author-
illustrator) .And to Think that I Saw It on Mul-
berry Street. New York: Vanguard Press, 1937.
The Cat in the Hat. New York: Random
House, Inc., 1957.
118 - Knowing Children’s Literature
Horton Hatches the Egg. New York: Van-
guard Press. 1940.
McElligot’s Pool . New York: Random House,
1947.
Shane, Ruth and Harold. The New Baby. Illustrated
by Eloise Wilkin. New York: Simon 8c Schuster,
1948.
Simon, Norma. Daddy Days. Pictures by Abner
Graboff. New York: Abelard-Schuman, Limited,
1958.
Skaar, Grace (author-illustrator). All About Dogs,
Dogs, Dogs. New York: William R. Scott, Inc.,
1948.
Nothing but Cat, Cats, Cats. New York: Wil
liam R. Scott, Inc., 1947.
Slobodkina, Esphyr (author-illustrator) . Caps for
Sale. New York: William R. Scott, Inc., 1947.
Wonderful Feast. New York: Lothrop, Lee &
Shepard Co. Inc., 1955.
Smith, William Jay. Puptents and Pebbles. Illustrated
by Juliet Kepes. Boston: Little, Brown & Company,
1959.
Steiner, Charlotte. ABC. Garden City, N. Y.: Garden
City Books, 1954.
Tenggren, Gustaf (illustrator). The Tenggren
Mother Goose. Boston: Little, Brown & Company,
1940.
Tensen, Ruth M. (author-illustrator) . Come to the
City. Chicago: The Reilly & Lee Company, 1951.
Come to the Farm. Chicago: The Reilly 8c
Lee Company, 1959.
Thompson, Kay. Eloise. Drawings by Hilary Knight.
New York: Simon & Schuster, Inc., 1955.
Thurber, James. Many Moons. Illustrated by Louis
Slobodkin. New York: Harcourt, Brace 8c Company,
1943.
Titus, Eve. Anatole. Illustrated by Paul Galdone.
New York: Whittlesey House, 1956.
Tresselt, Alvin R. The Frog in the Well. Illustrated
by Roger Duvoisin. New York: Lothrop, Lee 8c
Shepard Co. Inc., 1958.
Hi, Mister Robin! Illustrated by Roger Du-
voisin. New York: Lothrop, Lee 8c Shepard Co. Inc.,
1950.
I Saw the Sea Come In. Illustrated by Roger
Duvoisin. New York: Lothrop, Lee 8c Shepard Co.
Inc., 1954.
Wake Up, City! Pictures by Roger Duvoisin.
New York: Lothrop, Lee & Shepard Co. Inc., 1959.
Wake Up, Farm! Pictures by Roger Duvoisin
New York: Lothrop, Lee & Shepard Co. Inc., 1954.
White Snow, Bright Snow. Illustrated by
Roger Duvoisin. New York: Lothrop, Lee 8c
Shepard Co. Inc., 1947.
Tudor, Tasha (author-illustrator) . A Is for Anna-
belle. New York: Oxford University Press, 1954.
Edgar Allan Crow. New York: Henry Z.
Walck, Inc., 1953.
Linsey Woolsey. New York: Henry Z. Walck,
Inc., 1946.
1 Is One. New York: Oxford University Press,
1956.
Tudor, Tasha (illustrator) . Mother Goose. New
York: Oxford University Press, 1944.
Tworkov, Jack. The Camel Who Took a Walk. Illus-
trated by Roger Duvoisin. New York: Aladdin,
1951.
Udry, Janice May. The Moon Jumpers. Illustrated
by Maurice Sendak. New York: Harper 8c Brothers,
1959.
A Tree Is Nice. Illustrated by Marc Simont.
New York: Harper 8c Brothers, 1956.
Ungerer, Tomi (author-illustrator) . Crictor. New
York: Harper 8c Brothers, 1958.
Emile. New York: Harper 8c Brothers, 1960.
Walters, George. The Steam Shovel That Wouldn’t
Eat Dirt. Illustrated by Roger Duvoisin. New York:
Aladdin, 1948.
Ward, Lynd (author- illustrator) . The Biggest Bear.
Boston: Houghton Mifflin Company, 1952.
Watson, Nancy Dingman. What Is One? Pictures by
Aldren A. Watson. New York: Alfred A. Knopf,
Inc., 1954.
Weil, Lisl (author-illustrator) . I Wish, I Wish.
Boston: Houghton Mifflin Company, 1957.
Weisgard, Leonard (author-illustrator) . Clean Pig.
New York: Charles Scribner’s Sons, 1952.
Mr. Peaceable Paints. New York: Charles
Scribner’s Sons, 1956.
White, E. B. Charlotte’s Web. Illustrated by Garth
Williams, New York: Harper 8c Brothers, 1952
Stuart Little. Illustrated by Garth Williams.
New York: Harper 8c Brothers, 1945.
Williams, Garth (author-illustrator) . Baby’s First
Book. New York: Simon 8c Schuster, Inc., 1955.
The Rabbits’ Wedding. New York: Harper 8c
Brothers, 1958.
Wright, Blanche Fisher (illustrator) . The Real
Mother Goose. Skokie, 111.: Rand McNally 8c Com-
pany, 1916.
Wright, Dare (author-illustrator) . Holiday for Edith
and the Bears. New York: Doubleday 8c Company,
Inc., 1958.
The Lonely Doll. New York: Doubleday 8c
Company, Inc., 1957.
Wright, Ethel B. Saturday Walk. Illustrated by Rich-
ard Rose. New York: William R. Scott, Inc., 1954.
Yashima, Taro, pseud. (Jun Iwamatsu) . (author-
illustrator) . Crow Boy. New York: The Viking
Press, 1955.
Umbrella. New York: The Viking Press, 1958.
The Village Tree. New York: The Viking
Press, 1953.
Ylla, pseud. (Camilla Koffler) . (illustrator) . Animal
Babies. Text by Arthur Gregor. New York: Harper
& Brothers, 1959.
Children Read Pictures - 119
Two Little Bears. New York: Harper &
Brothers, 1954.
Zion, Gene. All Falling Down. Illustrated by Margaret
Bloy Graham. New York: Harper & Brothers, 1951.
Dear Garbage Man. Illustrated by Margaret
Bloy Graham. New York: Harper & Brothers, 1957.
Harry the Dirty Dog. Illustrated by Maigaret
Bloy Graham. New York: Harper & Brothers, 1956.
No Roses for Harry. Illustrated by Margaret
Bloy Graham. New York: Harper & Brothers, 1958.
The Plant Sitter. Illustrated by Margaret
Bloy Graham. New York: Harper & Brothers, 1959.
Zolotow, Charlotte. Big Brother. Pictures by Mary
Chalmers. New York: Harper & Brothers, 1960.
One Step , Two ... . Illustrated by Roger
Duvoisin. New York: Lothrop, Lee & Shepard Co.
Inc., 1955.
Over and Over. Illustrated by Garth Williams.
New York: Harper & Brothers, 1957.
The Park Book. Illustrated by H. A. Rey.
New York: Harper & Brothers, 1944.
The Quiet Mother and the Noisy Little Boy.
Illustrated by Kurt Werth. New York: Lothrop,
Lee & Shepard Co. Inc., 1953.
The Storm Book. Pictures by Margaret Bloy
Graham. New York: Harper & Brothers, 1952.
4 -Children Seek Information About
the Physical World
Victor boisterously entered the fourth grade
classroom laden with books and paper bags.
His classmates surrounded him to see what
he had brought from his winter vacation trip
to Florida. “Now just wait ’til sharing time,”
he announced. “I’ve got a lot of stuff. Mr.
Schuster, can I set up a display of my sea
things?”
Tom Schuster had anticipated this mo-
ment, and welcomed the suntanned nine-
year-old, “We’re glad to have you back, Vic.
Yes, we will want to see your things. Can
you select two or three for sharing time?
Your display of all the things can be arranged
on the window shelf.”
The children discussed interesting events
each morning, so there was time to hear Vic-
tor’s report and see the shells, sand dollars,
and seahorse. The children asked several
questions, “What lived in the shells?” “What
do sand dollars eat?” “Where do sea horses
live?”
USING INFORMATIONAL BOOKS
A Case Study
THE UNIT BEGINS
Mr. Schuster had been watching for such a
“lead” to stimulate a study of the sea. In Sep-
tember, he had asked the children to com-
plete general interest inventories which re-
120
vealed a high degree of interest in animal
life. Also, several children expressed interest
in deep-sea diving. Later, he observed Bob
and George asking for books about subma-
rines when they went to the school library.
The teacher felt the children’s interest in
space explorations might well be extended
Children Seek Information about the Physical World - 121
to other areas of scientific study. The school of the sea. A current event, such as a balloon
curriculum guide suggested a study of the flight over the ocean, submarine exploration
Americas for social studies content and the under the Arctic, or pictures of sea animals
science guide included the topic, Changes in might have been the “take off point” as chil-
the Earth's Surface . With these factors in dren or the teacher brought objects or ideas
mind, Mr. Schuster had decided a group to the daily sharing period,
study of the sea would provide an opportu-
nity to satisfy immediate interests, to extend preplanning by the teacher
interests, and to develop concepts in social Mr. Schuster had prepared for such a study
studies and science. of the sea by locating and reviewing many
He could have planned another way of materials. He made notes summarizing infor-
beginning the study. The children could have mation and concepts in each book which
read and discussed a section of one of the sci- would need clarification. The preparation of
ence texts, “The Ocean.” A discussion of the summary cards helped him guide children
fears of the early sailors and explorers who in using these informational books. Some of
found the Americas could have led to a study his cards are reproduced below:
Fisher, James THE WONDERFUL WORLD OF THE SEA
Consultant Gwynne Vevers
Garden City Books, 1957
Each page has two or more small illustrations — beautiful art
work — captions under diagrams are very helpful.
No index or pronunciation guide.
Section on exploring the sea is excellent — pictures of deep-
sea current drift bottle, current detectors, core samplers are
good. Early ships, explorers, ship disasters will help us
relate history to our study.
Concepts which will need explanation — cellular division,
chromosomes, evolution.
The last 2 sections, M Sea Challenges Man , 11 " Man Challenges
the Sea" give information not found in other books.
Discuss cycle of food p.30-31 with entire group.
Difficult reading for many of this group. Good reference for
me !
122 - Knowing Children’s Literature
Hinton, Sam EXPLORING UNDER THE SEA
111. by Rudolf Freund
Garden City Books, 1957
Style is interesting — child feels the author is talking with
him not down to him.
Wave explanation by demonstration of moving feet under a
sheet — sheet represents water — feet make wave movements.
Reading level — my middle group.
Excellent pronunciation guides in the context.
Metamorphosis very clearly explained — e.g . :
Crabs p.27, Obelia, p.29.
Card to suggest the reader report:
1. Ways sea animals get food.
2. Ways of attachment — mussels, barnacles.
3. How kelp is useful.
4. Camouflage in the sea.
5. Ways of swimming in the water.
Carson, Rachel THE SEA AROUND US
Simon & Schuster, 1958
Beautiful illustrations, color photographs, clear diagrams
and charts, and prose is rich — flows in pleasing manner.
Beginnings — relationship of fossils.
Studying the ocean floor, p.48-62.
Tides — effect of currents, p.136-139.
Early navigators and charts.
Sounds — e.g . , shrimp cackle, p.45.
Leaves one sensing the mystery of life, p.124.
Read many parts aloud.
Excellent index!
In reviewing books for the unit study Mr.
Schuster considered vocabulary, diagrams,
pictures, reading level, index and pronun-
ciation guides, special interests of pupils, and
special uses of each book. In some cases he
wrote guide questions on a card which would
be placed in the front of the book. The child
who used this book was guided to write or be
ready to tell the answers to these questions.
For some books he prepared cards with pro-
nunciation guides for unusual words in the
text.
Mr. Schuster continued to record com-
ments about the intriguing books about the
sea. The Illustrated Book of the Sea by Haus-
man and Sutton was very well organized.
Space and detail made the drawings especially
useful and he thought the children would en-
joy the interesting facts about unusual fish.
This teacher felt that All About the Sea, by
Lane, would be good for children with aver-
age reading ability. Illustrations did not ex-
tend text, and there was no pronunciation
guide. The sections on the ooze of the ocean
floor and farming the sea seemed very inter-
esting. Mr. Schuster noted that details of life
Children Seek Information about the Physical World - 123
of the sea and the economics of the sea were
included in Epstein and Williams’ The Real
Book About the Sea . The index would be
very helpful for classroom use. He observed
the misconception expressed by the phrase,
“the sun will suck up water.” Huntington’s
Let's Go to the Seashore was listed as an ex-
cellent book of photographs. Mr. Schuster
made a note to use this with Lester who was
reading at third grade level. The text clari-
fied size relationships of the various sea crea-
tures. He planned to call attention to the in-
formation about the life span of the animals.
A graph could be made to present this in-
formation, he thought. Another book for the
children who read below grade level was The
True Book of Animals of the Sea and Shore.
The double-page illustrations flow with Po-
dendorf’s text. Animals with fins, shells,
sharp spines and soft bodies were discussed.
The Deep Sea by Neurath appeared to be an
easy book, but the vocabulary was difficult.
For example, Mr. Schuster read, “The sen -
tinel calls the guard when danger threatens”
and lightly marked the words for later dis-
cussion. The blue-green pages were very at-
tractive, but some of the blue silhouettes
would be rather difficult for children to iden-
tify. He also noted such phrases as “creatures
leap clean out of the water” and “drive his
‘sword’ clean through its side.” Seashores,
one of the Golden Nature Guides, would be
an excellent resource for identification. Mr.
Schuster considered the possibility of dis-
cussing the food-chain diagram as a basis for
a mural. He also wrote Bruce’s name on this
card to remind himself to recommend this
book to a boy who would especially enjoy
knowing the scientific names. Both the old
and revised editions of The Sea for Sam were
among the books this teacher reviewed. He
found that abstract phrases such as “In the
days of Nationalism” and “ghouls like Dan-
te’s inferno” had been omitted in the revision
by Wilfrid Bronson. However, the approach
established by the original author, W. Max-
well Reed, seemed to be of continuing inter-
est to boys and girls. Many excellent photo-
graphs had been added to the new edition.
The explanation of ocean depths was brought
up to date. The chapter on nature’s seafood
cookbook could supplement Zim’s food-chain
diagram. A good chapter to read aloud would
be Bronson’s introductory chapter about the
dolphin cow and her calf in Children of the
Sea . Mr. Schuster regretted the incidents
which portray stereotyped Negro characters
in an otherwise well-written book.
Three of the books which he reviewed
would be especially useful in identifying and
classifying the sea shells. Each page of Hutch-
inson’s A Child's Book of Sea Shells pictured
a different shell and briefly described it. Such
words as bivalve, edible, and translucent
would need explanation, and the pronun-
ciation of Cephalopod, Chiton, Volutes, and
Coquina would be needed. The Golden
Stamp Book, Sea Shells would be helpful in
identification. Mr. Schuster also thought
about attaching the stamps on a world-out-
line map to show where the shells are found.
He thoroughly enjoyed the beautiful water-
colors and the rhythmic text of Houses from
the Sea. He recalled that Adrienne Adams’
art work in this book about shells won a
place as runner-up for the 1960 Caldecott
award. This would be a book to read aloud
to the class. Much information was woven
into the text, and the illustrations at the
end would provide a quick guide for iden-
tification.
Mr. Schuster also included other, more
general books which would relate to the study
of the sea. He found The Gulf Stream by
Brindze presented an excellent historical ac-
count of the charting of the Gulf Stream. A
felt story illustrating the water cycle could
be prepared after reading Busy Water by
Black. If the children made a mural, he
would call their attention to Castle’s blue,
green, and charcoal sketches which portray
the restless seas. An explanation of buoyancy
and other experiments related to water were
found in The First Book of Water by the
Norlings. This book also gave a clear expla-
nation of the water cycle. Other experiments
were found in The Magic of Water by
Schloat. These experiments were pictured so
124 - Knowing Childrens Literature
clearly that Lester, who had difficulty with
reading, could easily carry them out. The
Real Book of Science Experiments by Leem-
ing included several demonstrations to help
children understand density, water pressure,
surface tension, and movements of warmer
water. The directions seemed clear and ma-
terials could be obtained easily. An experi-
ment with salt water was found in Munro
Leaf’s Science Can Be Fun . For his own ref-
erence Mr. Schuster included the more com-
plex book by Buchsbaum, Animals Without
Backbones, and Miner’s Field Book of Sea-
shore Life . Mr. Schuster outlined his objec-
tives and planned possible activities for the
unit as he read these books and located re-
lated films and filmstrips. He became increas-
ingly interested in the study and recognized
more possibilities for developing concepts of
animal and plant life. The objectives in-
cluded learning about the influence of the
sea upon our life and development of ap-
preciation of the contribution of explorers
of the sea.
DEVELOPMENT OF THE UNIT
The following account describes the day to day development of the unit. The
principles involved in the problem-solving approach to teaching are identified in
the right column, while the progress of the unit is described in the column at
the left.
At the close of the day Victor had arranged his
display of objects from the seashore. Mr. Schuster
commented during the evaluation period, “We
have enjoyed the things Victor brought today. I
have noticed you have been asking several ques-
tions about the sea and sea life. Perhaps you will
want to think about these questions until to-
morrow when we can discuss them. Do other chil-
dren in the class have things related to the sea
which you would like to share?
(John, Linda, and Marvin mention shells and
pictures they will bring.)
He continued, “We are completing our com-
mittee reports about resources in our state. A
study of the sea may be a good group study to
plan next, for I realize you are very interested in
sea life.”
After the children were dismissed Mr. Schuster
placed a few books under a bulletin board cap-
tioned, “What Do You Want to Know About the
Sea?” A note pad was attached to the bulletin
board which also displayed a picture of a sea-
scape and illustrations of sea life. The children
were directed to write their questions on a piece
of the note paper and place it in the suggestion
box attached to the bulletin board. The questions
would be organized two or three days later.
During the next two days pictures were brought,
additional shells were displayed, and books about
the sea were examined by some children and read
in whole or part by others during the library pe-
riod. Continued interest in the sea was expressed
in the sharing period.
Daily evaluation and planning periods help
children develop skills in group work, accept
change, and assure continuity and flexibility.
One study is not “dropped” as interest in an-
other area develops.
Books are used to stimulate further interest.
This plan provides for identifying and exploring
new interests.
A library period for self-selective reading pro-
vides time for satisfaction of interests.
Children Seek Information about the Physical World - 125
The children used books to identify shells. Burtsfield School, West Lafayette, Indiana.
(Meanwhile the study of resources of the state
continued. Committees presented their reports
about soil, forests, coal, oil, rivers, and lakes, in-
dustries, and people of the state. The large pic-
ture map of the state was completed.)
After two days the teacher removed the ques-
tion slips from the box and wrote them on a
large chart. In planning time he said, “There are
many things we want to know about the sea.
What a long list! Several questions are about ani-
mal life. Let’s mark all of these with an A.” The
children identified questions about animals.
“I wonder if there are some other things we
want to know about animals in the sea,” he con-
tinued.
The children soon had this list of questions:
What is a sand dollar?
How do starfishes eat?
What fish are dangerous?
Will sharks eat people?
What fish are good to eat?
Why do squids shoot out ink?
How big is a whale?
To capitalize on current interest, plans for a
new study may be initiated as another class study
is completed.
The teacher guides the process of identifying
problems.
Children's questions tend to be specific.
126 - Knowing Children* s Literature
“Can you find another grouping of questions?"
asked Mr. Schuster.
Amelia noted, “There are quite a few questions
about the size of the sea — like how high are waves
and how deep is the deepest place?”
“Which ocean is the biggest?” asked Chuck.
The teacher continued to guide the organiza-
tion of the study. Five main areas were listed:
Life In the Sea
Animals
Plants
The Ocean
Size
Depth
Waves
Tides
Currents
How so much water got in it
Why it is salty
What the bottom is like
How Man uses the Sea
Plants Man Uses
Animals Man Uses
Others
How Man Explores the Sea
Tools and Instruments
Boats, Navigation, Explorers
How do steel boats float?
Submarines
How do they know where to go?
Who were the first sailors?
The next day Mr. Schuster read a part of The
Sea Around Us while the children rested after an
active play period. More questions were added to
the chart. A news magazine article about dolphins
was brought by one child. Mr. Schuster then read
the first chapter of Children of The Sea.
While they were completing their study of state
resources the children continued to evidence in-
terest in the sea. Some of them had to be re-
minded of committee obligations for the study in
progress, for they were ready to launch an attack
upon the problems of exploring the sea.
The Folkways record, Sounds Of The Sea, was
played on the day following completion of the
previous unit. The strange whistles, grunts, and
sighs from the ocean depths motivated new inter-
ests, and they were ready to plan an organized
study. Mr. Schuster now had the books he could
locate in* the school library, and had purchased
two new volumes because he, too, was deeply in-
terested in learning more about the ocean.
Each child took a book or two to his desk.
“Let’s see what information we can find. What
parts of the book will you use to see if there is
information?” he asked.
The children discovered some of the books did
not have a table of contents or index. “Does your
The teacher does not have to be an “encyclo-
pedia of information.” His attitude of “Search”
and interest in seeking information is contagious.
Children need guidance in organizing questions
for study.
The teacher stimulates interest and guides dis-
cussion as he reads to children. Current reading
material from newspapers and magazines is in-
cluded in the literature program.
Recordings can build meanings and develop
interest in further reading.
The teacher guides development of skill in
using informational books.
Specific techniques for using references are
taught in relation to need.
Children Seek Information about the Physical World - 127
book tell about oyster fanning? On what page
will the information begin? How many pages tell
about it?”
“We can learn much from pictures in our
books,” the teacher remarked. “How can you tell
the size of animals or fish as you look at illus-
trations?”
“You can read to see if it tells,” answered Don.
Victor added, “Sometimes it says it’s magnified
so many times, so maybe it's only a tiny speck,
really.”
“These are good clues,” replied Mr. Schuster.
“You can also compare the plant or animal with
the picture of a man or a boat or object you
know. As you look at these books for informa-
tion, look at the pictures to learn about size,
shape, and other interesting facts.
“I have placed cards in some of the books to
help you pronounce words. You'll also find some
clue cards with questions to guide your reading.
You will have to skim some books to find the in-
formation you seek.
“Tomorrow, groups will begin meeting to plan
ways of working. Write your name and the big
topic you are most interested in studying. Also
write your second choice on the slip of paper.”
The names of the children in each work group
were posted the following day, and two commit-
tees met while the other children carried on indi-
vidual activities in improving language skills,
spelling, and arithmetic. Some of the children
took books to their committee meeting. Here pic-
tures were shown or the table of contents or
index was used to see if the information needed
was available.
“We’d better get all the encyclopedias,” said
one chairman. An enthusiastic member asked Mr.
Schuster if he could go to another classroom to
borrow their encyclopedias. “How could you de-
cide which volumes you would need?” he asked
the group as he drew up a chair and joined their
circle.
“Well, I guess we could list all the things we
want to look up,” the chairman answered.
“What words might be guide words?” asked
the teacher.
The children listed sea, ocean, tide, waves, and
currents as possible topics. Then a committee
member was dispatched to bring encyclopedia
volumes. This group had decided to begin with
encyclopedias and then read other books.
After lunch the three groups met and planned
ways of working while the other children con-
tinued individual work. Mr. Schuster met with
the group interested in ways of exploring the sea
because he knew there were few resources for this
topic. In this group were three children whose
reading scores were above ninth-grade norms and
two who were reading at third-grade level. “Since
Children need guidance in interpreting pic-
torial material.
The importance of books which meet criteria
of pictorial accuracy is recognized in this incident.
The teacher gives guides for pronouncing words
on cards placed in each book. Words are divided
into syllables and diacritical marks are used to
facilitate pronunciation. Guide questions direct
the child to look for details or important ideas.
Topics are chosen according to individual in-
terest, but the teacher’s plan makes it possible for
him to arrange balanced groups who will work
well together.
To avoid the confusion of several groups meet-
ing at one time, begin group work by planning
other activities with most of the class.
The teacher remains alert to group problems
and “steps in” when needed.
Interest groups may include children of varying
achievement levels. The teacher plans with the
group so each member can make a worthwhile
contribution.
128 - Knowing Children's Literature
there are few books, how can you share informa-
tion?** he asked. “We can take turns reading
aloud from the books we do have,** one child sug-
gested. “I can write my uncle who was on a sub-
marine,’’ volunteered another. “I'll go to the pub-
lic library and find out more about the Piccards
and Beebe,’’ planned Tom, who might have been
labeled a “gifted child.'*
“In library time I’ll give you some special help,’’
Mr. Schuster said to Mike who struggled so vali-
antly to improve his reading. He . planned to
read with Mike and Sonny from the book The
Wonderful World of The Sea. They could dic-
tate to him summary statements about the illus-
trations and content. Their report could be
copied and illustrated. (In their reading skills
period, Mr. Schuster would use The True Book
Of Animals Of The Sea.)
Encyclopedias, texts, trade books, National
Geographic magazines, and current adult maga-
zines were used in the ensuing search for infor-
mation. Films and filmstrips helped build a back-
ground of meaning for interpreting text and pic-
tures. Reading created new interests; topics such
as birds of the sea, changing seasons and the sea,
were added.
Mr. Schuster read some sea poems. Coatsworth’s
“A Horse Would Tell,” Masefield's “Sea-Fever,”
and “The Mermaids” and “Echoes” by Walter
de La Mare were read to the children. Several
children looked for other poems and brought
them to share with the group.
After listening to the recording of Debussy’s La
Mer the children wrote their own poems about
the sea.
Information was interpreted through a mural
of the sea, a time line illustrating explorations, a
relief map of the deeps and troughs of the ocean
bottom, and through written reports. Shell collec-
tions were identified. The children developed a
series of dramatic scenes in which explorers of the
past and present described the sea.
The children who have difficulty in reading
need special help in order that they may feel part
of the group by making a valuable contribution.
Books on their reading level should be provided.
A wide variety of materials is used in locating
information.
Poetry can become a significant part of the ex-
perience unit.
Children learn as they interpret information
creatively.
Informational books became an essential, integral part of this search for knowl-
edge about the sea. If these children had read only the few pages of the science
textbook, or the relatively brief descriptions of exploration in the social studies
book, their understandings would have been limited, appreciations circumscribed,
and interests suppressed.
Criteria for Informational Books
In selecting books to extend children's con-
cepts and provide information to satisfy their
hunger for facts, the teacher evaluates the
varied offerings according to established cri-
teria. In selecting informational books the
following criteria are considered:
ACCURACY AND AUTHENTICITY
In our society, authors are held in high
esteem; that anyone should write a book
Children Seek Information about the Physical World -
often seems qualification enough for his rec-
ommendation as an accurate informant. Al-
though it is difficult for the classroom teacher
to determine accuracy, the copyright date is
a good clue for recency of information. The
teacher can often ascertain the background of
the author. Is he chairman of a geology de-
partment, curator of a museum, an authority
in his own field? Answers to such questions
can help determine authenticity. By compar-
ing several books in a special area, the teacher
can note discrepancies. He should alert the
children to these discrepancies and refer to
encyclopedias and other adult references for
clarification. Children who are eagerly seek-
ing information will compare books with
first-hand experience. For example, Harold,
a third grader, had been reading many books
about fire engines. He questioned the con-
tent of one of the books, noting that some
information conflicted with what was given
in another book. Here is the letter he wrote
to the author:
G. P. Putnam’s Sons
210 Madison Ave.
New York, New York
Dear Miss Buchheimer:
I’m in the third grade. In two days I w T ill be
exactly nine years old.
I’m interested in fire equipment. I have lots of
toy fire equipment and several interesting books
about fire engines.
I live in a small town just about seven blocks
from the fire station. For awhile I went to the
station once or twice a day to see the trucks. One
day I went four times. That day the alarm rang
twenty times. It was fun at the station because I
got to help the firemen and I also had a chance
to talk with some of them. I had a thirteen-year-
old friend that went with me. I've been reading
your book at school called Let’s Take a Trip to
the Firehouse. Now what I’d like to know is why
you call the aerial truck and the hook-and-ladder
truck the same thing. I have another book called
The Big Book of Real Fire Engines by George I.
Zaffo. According to this book an aerial truck and
a hook-and-ladder truck (tractor-type aerial truck)
are not the same thing. The aerial truck, I think,
is similar to the hook-and-ladder truck, but it
turns curves easier and goes through alleys easier.
It has to go to a fire with a pumper because it
129
does not carry a hose. It just has four wheels. The
hook-and-ladder truck (tractor-type aerial truck)
has six wheels. It is bigger than the aerial truck
and takes two drivers — one in front and one in
back. It is the biggest truck in the fire department
and goes out only on big fire alarms.
I have enjoyed your book, Let’s Take a Trip to
the Firehouse.
I would appreciate knowing why you write
about the aerial truck and the hook-and-ladder
truck as if they were the same thing.
Sincerely yours,
Harold *
While evaluating informational books the
teacher should be aware of such phrases as
“scientists believe," “another theory,” and “it
is possible.” Children should understand the
difference between fact and theory. Stereo-
types should be avoided.
Context, photographs, and illustrations
should help children gain meaningful con-
cepts of size. Does the reader realize he is
looking at an illustration of a diatom which
has been magnified many times? Is there
some guide to help him visualize the im-
mensity of an iceberg with its larger part
hidden beneath the surface of the water?
When considering the accuracy of an in-
formational book, the teacher must keep in
mind the purposes of the reader. These will
vary, of course, but the child reader is inter-
ested in specific facts. Children want books
about the sun, whales, volcanoes, or snakes,
instead of more general books about the uni-
verse, mammals, or earth's changes. The facts
included should be accurate, but unnecessary
details omitted. Relationships should be
made clear, but ambiguous generalities
avoided.
“Mother nature” explanations are not in-
cluded in the accurate informational book.
Precursors of modern informational books
often described animal life by endowing the
animals with human qualities. This anthro-
pomorphism has no place in the good infor-
mational book.
1 Esther Schatz, et at., Exploring Independent Read-
ing in the Primary Grades. Study of Independent
Reading. Bulletin No. 2. Columbus, Ohio: College of
Education, The Ohio State University, 1960. p. 66.
Books contribute to the thrill of discovering specific facts.
Recent informational books are realistic.
In McClung's Sphinx, for example, three of
the caterpillars die — one killed by a gardener,
one eaten by a bird, one eaten from the in-
side by grubs hatched from wasp eggs. Life
cycles, plant-animal relationships, the con-
cepts of a changing universe, are simply pre-
sented through such realistic facts.
CONTENT AND STYLE
Early informational books were often writ-
ten as dialogues between erudite tutors, rel-
atives, or friends and precocious young prigs.
Information was dispensed as the two walked
in the garden or as the unsuspecting child
visited his uncle’s farm. Good informational
books are written because children honestly
seek knowledge about the physical and so-
cial world in which they live. The facts are
interesting and exciting. Children do not feel
the author is “writing down” to them. New
words are explained in context and illustra-
tion. In Exploring Under the Sea, Hinton
explains the meaning of Dinoflagellates, mi-
croscopic animals in the sea:
The word itself is pronounced din-oh-FLADGE-
-e-lates, the “dino” part comes from a Greek word
meaning spinning top, and the “flagellate” part
means a whip. Many of these little things are top-
shaped, and all of them have a long whiplike
structure to help them swim. 2
2 Sam Hinton, Exploring Under the Sea . Garden
City, N. Y.: Garden City Books, 1957. p. 19.
Children Seek Information about the Physical World - 131
Compare the information presented in a photograph with that in a diagram of a starfish.
Photograph from Let's Go to the Seashore by Harriet Huntington. Doubleday, 1941.
Diagram, “Inside a Starfish,” from What's Inside of Animals by Herbert Zim. Illustrated
by Hersrhel Wartik. Morrow, 1953.
Such clearly presented informational books
help the child read independently.
Good informational books are not dry and
dull. Descriptive language stirs the imagina-
tion and stimulates re-creation of sensory ex-
perience. Rachel Carson’s description of
shrimp cackle is an example. “One of the
most extraordinarily wide-spread sounds of
the undersea is the crackling, sizzling noise,
like dry twigs burning or fat frying, heard
near beds of the snapping shrimp .” 3 The
strange is related to the familiar, in order
that meanings become clear.
Good informational books assume that the
child can comprehend information and some
significant relationships in biology, geology,
physics, astronomy, geography, history, so-
ciology, anthropology, and the arts. The au-
thors of such well-written books lead children
to realize there is much more to learn. James
’Rachel Carson, The Sea Atound Us. Special edi-
tion for Young Readers adapted by Anne Terry
White. New York: Simon & Schuster, 1958. p. 45.
Fisher s question in The Wonderful World
of the Sea may stimulate future scientists:
Who knows where these new and daring ex-
plorations will end? Someone already born may
well see the world’s greatest ocean depths, and
bring back photographs of creatures unknown to
science. . . . But we shall never learn the whole of
the story of the sea's stormy surface or probe the
last secret of the silent depths. 4
The well-written informational book wid-
ens the child's vision and opens new vistas
of beauty and mystery. As Rachel Carson de-
scribes the spawning of the grunion at the
time of the highest tides, text and pictures
create the scene, “Now on these waves of the
ebbing tide the fish begin to come in. Their
bodies shimmer in the light of the moon as
they are borne up the beach on the crest of
a wave.” The author continues and points
out one mystery of life. “This strange, perfect
4 James Fisher, The Wonderful World of the Sea.
Garden City, N. Y.: Garden City Books, 1957. p. 68.
132 - Knowing Children's Literature
link with the tides is something to fill us with
wonder/' 5
ILLUSTRATIONS
Illustrations should blend with the text.
They should be accurate, large enough to
show detail, spaced so the reader does not
feel confused, and should seem to flow with
the text. Diagrams should be clearly ex-
plained. Photographs should illustrate one or
two points instead of being general pictures.
There should be a unity of picture and text
without clutter. In recent years excellent in-
formational books which are both artistically
beautiful and accurate have been published.
For example, Ravielli’s sketches of the body
in Wonders of the Human Body overlay text
in a satisfying design.
ORGANIZATION
The child who seeks specific information
needs to develop skill in using the index and
table of contents. Some well-written infor-
mation books fail to include these helps; in
others it is difficult to locate page numbers.
Section and paragraph headings enable stu-
dents to find information more easily. The
book should be organized so that the reader
can find and select the information he needs.
WIDE RANGE OF APPEAL
Although the vocabulary and content may
be planned for younger or older children, in-
formational books should be written and de-
signed for readers with specific interests . A
good reader in sixth grade may quickly read
Podendorf’s The True Book of Animals of
the Sea and Shore, but he may get just the
information he is seeking about barnacles.
The lad struggling with third-grade reading
skills can turn to the same book because it
is not a “baby book." Although the vocabu-
lary may be beyond his reading level, this
same child may gain information from the
pictures in The Illustrated Book of the Sea
by Hausman and Sutton. Parents and teach-
ers can extend their own knowledge through
informative books for children. The well-
8 Carson, op. cit., p. 124.
written informational book holds the interest
of the reader and leads him on in the quest
for broader understanding.
OUTLINE OF CRITERIA FOR EVALUATING
CHILDREN'S INFORMATIONAL BOOKS
In summary, the teacher or librarian will
consider the following list of questions in se-
lecting informational books for children:
Accuracy and authenticity
• Is the author well qualified in this field?
• What is the date of publication?
• Are facts and theories clearly
distinguished?
• Do text and illustration avoid
stereotypes?
• Do the illustrations contribute to
meaningful concepts of size?
• Is anthropomorphism avoided?
• Is the book realistic?
Content and style
• Are specific facts given?
• Does the author avoid “talking down"?
• Are new words explained in text and
illustration?
• Is the author's style interesting?
• Does the book encourage further
curiosity?
Illustrations
• Do illustrations clarify and extend the
text?
• Are the illustrations pleasingly spaced?
• Are diagrams clearly explained?
Organization
• Does the book include a table of contents
and index?
• Does it have a pronunciation guide?
• Is information easily located?
Wide range of appeal
• Will the book be of interest to several
age levels?
• What is the reading level?
• Is this a book of special information or
generalized knowledge?
Children Seek Information about the Physical World - 133
TYPES OF SCIENCE BOOKS
Modern elementary-school science programs
provide for a balance of physical and natural
science based upon experience and problem
solving. Children eagerly seek information
about their physical world. They want to
discover principles by manipulating mate-
rials and by testing their hunches. Books can
stimulate the quest for knowledge, provide
answers, and help children develop skill in
using the scientific method. Science books
constitute a major portion of the recent tide
of books published for children.
Experiment Books
To many children, the word science is syn-
onymous with experiment. Experiments to
satisfy individual interests and to help chil-
dren answer problems in broad unit studies
may be found in four types of experiment
books.
The teacher should evaluate experiment
books by asking several questions. Could a
child follow the directions easily? Do dia-
grams and pictures assist in the explanation?
Are the materials suggested for the experi-
ments readily accessible? What safety pre-
cautions are included? Can the child derive
the generalization or principle demonstrated?
Do the procedures for the experiments and
author’s style of writing encourage critical
thinking? 11 the answer is given too soon, if
the reader is not encouraged to observe de-
tails and to summarize his findings, the
science experiment book becomes a mere
cookbook.
GENERAL EXPERIMENT BOOKS
One type includes several experiments on
varied topics. Ilia Podendorf includes ex-
periments to illustrate a number of prin-
ciples in The True Book series, Science £x-
periments and More Science Experiments. In
More Science Experiments simple demonstra-
tions help young children understand prin-
ciples of light, work, inertia, and water. In
The First Book of Science Experiments Wy-
ler gives very clear directions for the middle-
grade reader. The actual photographs in Fun
with Science by the Freemans clearly show
the young scientist what materials to use.
The photograph of a stream of water being
attracted to an electrically charged comb is
an excellent example of this technique.
In Science Can Be Fun a number of experi-
ments are mingled with generalizations about
the many forces on the earth. Munro Leaf's
cartoons in this book are often confusing for
children in primary grades. Another approach
has been utilized by Schwartz in It's Fun to
Know Why. The questions and conversa-
tional style make the reader feel secure about
carrying out the experiments. Children are
guided to observe accurately through read-
ing directions such as the following for an
experiment with bread dough:
BREAD WITHOUT YEAST
Prepare another batch of dough in the same
way, but this time do not put any yeast into the
lukewarm water. Cover both dishes with a clean
cloth. Look at them every fifteen minutes. What
is happening? Which one is rising? Do you see
hundreds of tiny bubbles in one of your doughs ? 6
Applying his experience in television as
Mr. Wizard, Don Herbert combines photo-
graphs, clear directions, and concise state-
ments of the science principle being demon-
strated in Mr. Wizard's Science Secrets. Un-
der a similar title the idea of trickery, gad-
getry, and magic is overemphasized in Thay-
er’s Mr. Wizard's Junior Science Show. Chil-
dren may question the unrealistic characters
who say, “Gee Whillikers" and who “shriek
with glee’’ or “laugh gleefully" while absorb-
ing knowledge as in the old didactic conver-
sations. This little book from the grocery
store rack shows some experiments, but leaves
“Julius Schwartz, It's Fun to Know Why. New
York: Whittlesey House, 1952. p. 91.
134 - Knowing Children's Literature
much to be desired in an effective science
book. “How to Float Steel on Water/' “The
Strange Silver Egg Experiment," and “How
To Show Why the Sky Looks Blue," exem-
plify the intriguing titles of experiments in
The Real Book of Science Experiments by
Leeming. Although these titles suggest magic,
the author thoroughly explains the science
principle demonstrated.
More difficult experiments demonstrating
complex principles are included in Lynde’s
Science Experiences With Home Equipment .
Although designed primarily for teachers,
the UNESCO book, 700 Science Experiments
could be used by the superior students in ele-
mentary schools.
EXPERIMENTS RELATED TO ONE SUBJECT
A second type of experiment book presents
experiments keyed to one subject. Now Try
This by the Schneiders, is a notable example
of a book which guides the child to discover
for himself the basic principles related to
friction, levers, inclined planes, and wheels.
Diagrams help the child as he follows the
pattern for each experiment: “Let’s Find
Out" (purpose of the experiment) , “Try
This” (procedure) , “You Will Find" (obser-
vation of result) , “Now You Know” (conclu-
sion) , and “You Found Out" (principle) .
As the child reads and carries out these ac-
tivities, he is developing skill in using the
scientific method. See for Yourself by Nancy
Larrick is an easy book of experiments about
air and water. The principles illustrated here
are basic in understanding weather. Since the
title does not really tell that the book is about
this specific topic, we are reminded again of
the necessity for the teacher to read widely
so she can direct children to the “right book
at the right time." The teacher might wish
the author had included pronunciation
guides for such words as audible, oscilloscope,
and diaphragm, but the suggested demon-
strations of sound vibrations and sound
travels are clearly explained by Kettelkamp
in The Magic of Sound. Another book about
sound, Timmy and the Tin Can Telephone
by Branley and Vaughn, describes the sound
experiments one boy carried out with his
father's help. Conversation does not get in
the way of science, and the illustrations
would make it possible for a child to do the
experiments without reading.
Books about plants and animals also in-
clude experiments. Selsam suggests many
demonstrations to help children understand
plant growth in Play with Seeds and Play
with Vines. In Earthworms, Hogner tells boys
and girls how to set up an experiment to see
earthworms make humus in sandy or clay
soil in a mason jar. How fascinating it would
be to grow earthworms as suggested in this
well-written bookl
A third type of experiment book suggests
activities with special instruments. Fun with
Your Microscope by Yates, Experiments with
a Microscope by Beeler and Branley, Through
the Magnifying Glass by Schwartz, and
Andy's Wonderful Telescope by Schloat
guide older boys and girls in using these
tools of science. The Schneiders’ Science
Fun with Milk Cartons helps them under-
stand basic principles through construction.
This text can include only a few examples
Uncluttered diagrams should characterize factual
books for young children. From The True Book of
Your Body and You by Alice Hinshaw. Pictures by
Frances Eckert. Childrens Press, 1959.
You hove a
building of
BONES, a
SKELETON.
Your bones
are the firm
frame upon
which the
rest of you
is built.
Children Seek Information about the Physical World - 135
The unknown is related to the known through com-
parative illustration. From Wonders of the Human
Body by Anthony Ravielli. Viking, 1954. © 1954
Anthony Ravielli.
of the many science books which present ex-
periments or activities to help children un-
derstand science principles. The teacher will
find a card file of experiments very useful.
By making a separate card for each experi-
ment and noting the reference, he will have
an excellent source for quickly directing chil-
dren to books which will contain suggestions
for experiments related to one topic. Chil-
dren should be encouraged to add cards to
the file as they use science books.
Man
Boys and girls are interested in their own
bodies — how they function and their various
parts. As the child explores the physical
world around him he continues to seek in-
formation about man as a physical being.
Young children will enjoy The True Book
of Your Body and You . Hinshaw does not
present too much detail, yet the diagrams
of parts of the body are very clear. Playing
doctor with a goat as a patient is one ex-
ample of Eckart’s delightful illustrations of
the active children in this book. Several of
the books about man point out the unique-
ness of human personality. Hinshaw ex-
presses this theme:
But you have something that makes you special
and makes you different from all other living
things.
You have a kind of spark within you — your
spirit. You cannot see it or touch it. It has no
shape. But it is a glowing part of you.
It is this spirit that lets you see things you can-
not see with your eyes and understand things you
cannot understand with your brain. It is what
makes you different. It is what makes you forever
YOU. 7
Zim has answered the questions of many
children in his book. What's Inside of Me?
The usual format of this series is followed:
simple text appears on the page at the left
of an illustration; more difficult vocabulary
is used to present further information on the
following pages. Color is used very well in
the illustrations of parts of the body. The
Schneiders provide many experiments which
will help the middle-grade child understand
the functioning of parts of the body. The
conversational style of their book. How Your
Body Works, makes it especially readable. All
About the Human Body by Glemser is easier
to read than many in the All About Series.
Space is used wisely to enhance the excellent
diagrams by Traugott. However, children
will need help in understanding relative sizes
of body parts. For example, the child needs
to refer to a previous illustration to under-
stand the relative size of the cochlea in the
inner ear. A pronunciation guide is also
needed. This book presents a good explana-
tion of reproduction. Wilson's The Human
Body, What It Is and How It Works is pro-
fusely illustrated with cross sections and dia-
grams in bright colors. There is a danger
7 Alice Hinshaw, The True Book of Your Body and
You. Chicago: Childrens Press, Inc., 1959. p. 46-47.
136 - Knowing Children's Literature
that the cross sectional diagrams will not be
clear or that the main point will be lost in
colorful clutter. The fold-out pages showing
the various body systems are very good. Ravi-
elli's book, Wonders of the Human Body,
has become a classic in the field. There is
much detailed information about bones,
joints, muscles, and the digestive system. The
illustration shown on page 135 represents fine
art work in a science book. The similes in
text and diagram create interest as well as
understanding: spine like a string of spools,
ribs like a bird cage, thigh bone like a walk-
ing stick. Ravielli also suggests the unique-
ness of human personality:
Because we love and want to be loved
. . and have pity
. . and know why
. . and dream
. . and have ideals and faith.
These gifts of the spirit set man above all other
creatures. 8
Several books give information about one
specific part of the body. Your Wonderful
Teeth by Schloat is an outstanding book of
photographs which show the development
of teeth in two boys. The photographs of the
five-year-old at the dentist's office help the
young child understand what will happen
when his teeth are examined. An even more
valuable part of the book is the series of pic-
tures showing what the orthodontist does for
the eleven-year-old. The pictures clearly show
how the wires and bands are installed and
how they straighten the teeth. Perhaps the
realism of discomfort and tension experi-
enced with this process should also be in-
cluded. Our Wonderful Eyes by Perry is an
excellent book in which a direct, conversa-
tional style is used effectively. Many experi-
ments are suggested to develop understand-
ing of light and vision. There are fascinat-
ing facts about the process of vision and what
animals see. A valuable chapter about blind-
ness, eye disease, and eye banks includes sug-
gestions for helping blind people. Two of
Zim's books, Your Heart and How It Works
“Anthony Ravielli, Wonders of the Human Body .
New York: The Viking Press, 1954. p. 122-124.
and Your Food and You give information in
an interesting way. In the first book the au-
thor traces the development of the heart in
the earthworm, fish, and frog. The diagrams
are large, well spaced, and easy to under-
stand. The second book is designed for up-
per-grade students who are beginning to un-
derstand chemistry. In Lifeline: The Story
of Your Circulatory System Leo Schneider
includes Harvey's early discoveries about the
blood stream. This author also suggests a
few experiments. (Unfortunately the pages
appear very crowded — there is no space for
the eye to rest.) These books provide the
type of specific information children seek.
The process of birth and growth is impor-
tant to all ages, but peaks of interest in this
topic are related to physical development.
Sex education comes through family life, the
mass media of our culture, and through
books which give specific information. A very
matter-of-fact explanation of reproduction is
given by Strain in Being Born. The entire
book emphasizes naturalness of processes.
The photographs are illustrative, but often
seem blurred. The question and answer sec-
tions lead easily to further discussion. The
Wonderful Story of How You Were Born
and The Wonderful Story of You are very
well-written books by the Gruenbergs. The
latter book is printed on fine paper, illus-
trated beautifully by Lee Ames, and provides
the information and setting for development
of sound concepts about birth, growth, and
maturity.
The First Book of Microbes by Lewis and
Wonder World of Microbes by Grant would
answer many questions about disease. The
First Book of Microbes includes pronuncia-
tion keys, such as MY-CRO-OR-GAN-ISMS,
in parenthesis within the text. The diagrams
do not indicate the degree of magnification.
The theme of Grant's book is expressed in a
quotation of Pasteur, “Chance only favors
the mind that is prepared." In her account
of the discoveries of ways to control microbes,
the author emphasizes the way one discovery
is built upon previous knowledge. Teachers
could read aloud the exciting story of the
Children Seek
discovery of penicillin. The use of controls
in experimentation is encouraged in the sug-
gestions for readers. The gay title, Have a
Happy Measle, a Merry Mumps, and a
Cheery Chickenpox expresses the theme of
this book by Bendick. Information about
how the child will look and feel when he has
one of these diseases is included with activi-
ties which should be avoided. The nonsense in
the stories which are included between the
informative sections will delight seven- to
nine-year-olds. Older children who are be-
ginning to develop career interests will en-
joy Doctors and What They Do by Coy and
The Wonderful World of Medicine by Cal-
der. The latter book presents an interesting
history of medical discoveries. Also, the sec-
tion on world health is outstanding. In many
cases children will read only parts of these
books, but they will return to them as in-
terest develops.
Animals
Informational books about mammals, fish,
reptiles, amphibians, birds, and insects give
children new interests and present facts to
Darling gives detailed information through text and
accurate drawings. From Kangaroos and Other Ani-
mals with Pockets by Louis Darling. Morrow, 1958.
Information about the Physical World - 137
satisfy their curiosity. Several authors have
used the technique of describing events in
one year in an animal's life or have traced
the development of that animal through his
life time. These factual books may give a
name to the animal, but human emotions
or the ability to talk have not been ascribed
to the creature. McClung has used this style
in Sphinx, The Story of a Caterpillar . Sphinx,
the caterpillar, eats tomato leaves, changes to
a pupa beneath the ground, and emerges as
a sphinx moth in the eternal mystery of meta-
morphosis, but he is never given human char-
acteristics in this account of his habits. The
Harrises also use this style effectively in Lit -
tie Red Newt . Another writer who describes
the life of one particular animal is Henry
Kane. Books in his series, such as Tale of the
Promethea Moth, lack the action and de-
tailed illustrations children find enjoyable.
Two books about kangaroos illustrate the
problem the teacher faces in selecting infor-
mational books. Young Kangaroo by Mar-
garet Wise Brown describes the first year of
a kangaroo’s life. The authentic line draw-
ings by Symeon Shimin communicate the
Shimin’s drawings help the child understand the life
struggle of one kangaroo. From Young Kangaroo by
Margaret Wise Brown. Illustrated by Symeon Sbimin.
W. R. Scott, 1955.
138 - Knowing Children's Literature
curiosity, the loneliness, and fear of the lit-
tle animal on the vast Australian prairie.
The rich imagery of prose adds to the facts
which are part of the story. There is an ex-
citing chase by wild dogs, but the mother
saves her baby and herself. Security comes
as the reader looks at the peaceful mother
and senses her continued care.
Near him his mother's heart was beating slowly
— thump, thump. He was home. He was with his
mother and his little wild heartbeats came more
slowly. Behind closed eyes, sleep came to him
again — only this time a long warm sleep, full of
tender grasses and little kangaroo dreams. 9
Information is here — plus a lyrical story.
In contrast. Kangaroos and Other Animals
with Pockets by Darling provides much more
information about these fascinating marsu-
pials. The black-and-white illustrations give
excellent details, and portray the graceful
movement of the animals. Each sky appears
stormy, and seems to give an ominous, brood-
ing quality to the book. The reader learns
about kangaroo nests, the development of
the joey, battles for control of the “mob,"
evolution of the marsupials, and conserva-
tion practices in Australia. Here is an en-
grossing book of facts which reflects animal
adaptations and changes of nature. Both
books give accurate information; children will
enjoy each one. The teacher must be aware
of differences as noted in these examples and
will help children discover such differences
in style as they read for information.
In looking for informational books about
animals, the teacher will become familiar
with publisher's series and patterns devel-
oped by different authors. For young chil-
dren, the True Book Series, published by
Childrens Press, presents accurate informa-
tion through an easy vocabulary set in man-
uscript type. The First Book Series, pub-
lished by Franklin Watts, gives more detail
and is designed for older children. Written
by specialists in each field, the All About
Series, Random House, presents more de-
• Margaret Wise Brown, Young Kangaroo . New
York: W. R. Scott, 1955. p. 44.
tailed information and uses fewer illustra-
tions.
Herbert Zim’s well-written animal books
give interesting, accurate information, and
the illustrations present details of life cycles
and habits of animals. Zim initiated the
trend of writing books about one animal and
introduced unusual animals to children and
adults alike. Golden Hamsters, Frogs and
Toads, Ostriches, and Owls, are but a few of
his excellent books. This writer has also es-
tablished a unique pattern of presenting in-
formation in his What*s Inside series. A se-
quence of three pages gives data on one sub-
ject. The first page uses large print and an
easy vocabulary. On the next page there are
diagrams to explain the content. Printed in
smaller type, the third page gives more de-
tail for the teacher or advanced reader.
Olive Earle is another writer who presents
accurate, interesting information. Crickets,
Mice at Home and Afield, and Swans of Wil-
low Pond are distinctive examples of her con-
tribution to this type of literature for chil-
dren. Wilfrid Bronson's books have fewer
illustrations. He does not describe a single
animal, but writes of species such as Turtles,
Cats, Horns and Antlers, and Chisel-Tooth
Tribe. He especially emphasizes adaptations
to environment. A naturalist at the American
Museum of Natural History, George Mason,
has communicated the fun of studying na-
ture in his series of books, Animal Weapons,
Animal Tracks, Animal Tools, and Animal
Homes. Some chapter titles from the table
of contents of Animal Tools indicate his in-
teresting approach: “Feet as Tools," “The
Bee’s Tool Kit," and “Goggles and Flash-
lights."
Alice Goudey’s series includes Here Come
the Beavers, Here Come the Seals, and Here
Come the Bears. The Hogners are a team
who encourage children to observe animals
and their habits. Three of their books, Snails,
Spiders, and Earthworms, tell about differ-
ent species, reproduction, and how to keep
the animal for study. Controlled vocabulary
and attractive, detailed illustrations present
characteristics of animals in the series by
Children Seek Information about the Physical World - 139
Darby, What Is a Butterfly? What Is a Fish?
What Is a Frog?
Interest in identification of animals begins
as the child first points his finger and asks,
“What is it?" Boys and girls want things
named; as they grow older they use books
to label collections. The books which have
been mentioned in this chapter are actually
identification books. In I Like Caterpillars ,
Conklin has written an interesting book of
this type for young children. It is difficult,
however, to find the letters which are the
key to the names listed on the final page. The
Golden Nature Guides by Zim are excellent
references for children and teacher. Peter-
son’s The Junior Book of Birds exemplifies
an authoritative reference. An unusual
method of identifying interesting animals is
used by Pistorius in her series, What Butter-
fly Is It? What Bird Is It? and What Dino-
saur Is It? Rojankovsky's illustrations are ex-
cellent in The Great Big Wild Animal Book .
Osmond’s Animals of the World, Lemmon’s
All About Strange Beasts of the Present, and
Pope’s Reptiles Round the World help chil-
dren become familiar with many animals.
Another type of animal book describes life
in a particular environment or region. In
Wildlife at Your Doorstep Glen Rounds en-
courages children to observe animals nearby.
Information about animal life in water is
presented in such books as In Ponds and
Streams by Buck. Older pupils will find Fen-
ton’s Wild Folk in the Desert and Wild Folk
in the Woods interesting and useful. Under
a Green Roof, Animals and Birds of Our
Woods, by Jauss, would be excellent to use
before or after a field trip to the woods. A
fascinating study of insects is described in
Sterling’s Creatures of the Night. Children
may learn how to catch insects and how to
observe their habits. The author describes
what one may see on a night walk; many full-
page illustrations are in white on navy blue.
Other excellent drawings by Lubell show de-
tails of insect life.
Walt Disney’s beautiful photographs en-
rich books based upon his films, The Living
Desert and The Vanishing Prairie. In See Up
the Mountain, Morrow writes of changing
life at varying altitudes. Another author who
writes of animals in a particular environ-
ment is Millicent Selsam. See Through the
Sea , See Through the Forest and See
Through the Jungle use color, double-page
spreads and descriptive prose to help the
child experience a walk through these re-
gions.
We are in a dim green world A strange look-
ing animal is waddling toward us on the trail. It
has a nose like a nozzle, a tail like a huge brush,
and legs that look like shaggy cowboy pants. This
is the giant anteater. . . . [We turn the page to
see bright yellow and green.] Our jungle trail
has led us to a clearing We are suddenly daz-
zled. . . . Swarms of insects are buzzing and whir-
ring. Beetles shimmer with gold, emerald and
ruby. 10
Such a book helps the child experience the
total environment.
The Hole in the Tree is an example of a
story which shows relationships of animals
to each other. Jean George tells how the hole
becomes larger as different animals make
their nests in the old apple tree. Similarly,
Blough tells of different animal homes in
Who Lives in This House? How animals
study tracks of their friends and enemies is
told in the picture story by George, Snow
Tracks.
Books give children information about
animal life; they also guide collectors and
pet owners. Cooper encourages children to
enjoy animals around them in Science in
Your Own Backyard. In How to Make a
Miniature Zoo, Brown suggests keeping in-
sects, frogs, skunks, and other interesting
animals. In Look for a Bird's Nest, Scharff
suggests an interesting hobby. He tells how to
identify, collect, and preserve bird nests.
Your Parakeet by the Fosters, Pets by Chrys-
tie, and Morgan’s An Aquarium Book for
Boys and Girls are examples of good refer-
ences for care of pets. A paper bound book
by A. Barton simply titled, Pet Book, gives a
veterinarian’s suggestions for selection, care,
and training of pets.
10 Millicent Selsam, See Through the Jungle. New
York: Harper & Brothers, 1957. p. 25-4.
140 - Knowing Children’ s Literature
A California Redwood provides the
continuity for the natural history of
a region. For example, the big tree
witnesses the exciting fight between
two bucks. From Big Tree by Conrad
and Mary Buff. Viking, 1946. © 1946
Mary and Conrad Buff.
Children gain information about animal
life in general references such as Parker’s
Golden Treasury of Natural History and
The Rainbow Book of Nature by Peattie.
These well-illustrated, concisely written vol-
umes provide answers to many questions, but
children who want more information will
turn to the books previously described.
Maker’s Our Tiniest Animals , and Neurath’s
Too Small to See give young readers the spe-
cific details they seek. An excellent guide for
observing animals is provided by Brown in
How to Understand Animal Talk. The word
“talk” actually means communicate, for he
describes animal communication with tails
and feet as well as sound. The scientific ap-
proach is emphasized in his comment, “Be
careful then about believing all I have writ-
ten in this book, because I, too, could be
wrong. Be careful; be scientific !” 11
When boys and girls gain information
about animal life, they also gain an under-
standing of human life and man's relation-
ships to animals. The child who reads Sel-
sam's All About Eggs and How They Change
into Animals extends his understanding of
human birth. In Holling’sMtrcw of the Missis-
sippi and Pagoo he reads of the development
of the turtle or crawfish, but he also gains a
better understanding of the effects of the
total environment on life. The process of se-
lection, adaptation and change described in
such books as Ancient Elephants by Scheele
or All About Dinosaurs by Andrews contrib-
11 Vinson Brown, How to Understand Animal Talk .
Boston: Little, Brown & Company, 1958. p. 196.
Children Seek Information about the Physical World - 141
utes to the child's comprehension of the evo-
lutionary world. Carroll and Mildred Fenton
have written a book which could be read by
many second graders interested in prehistoric
life. In their book, Prehistoric Zoo, there is
an excellent comparison of animals of today
and yesterday. Dinosaurs and Other Prehis-
toric Animals by Geis is beautifully illus-
trated by Peterson. The full-page drawings
are realistic but not vicious in appearance.
The pronunciation guide is an asset.
Plants
Such titles as The First Book of Plants by
Hoke, The True Book of Plants We Know by
Miner, All About the Flowering World by
Lane, What Tree Is It? by Pistorius, and
WhaVs Inside of Plants? by Zim represent
informational books in the various series.
Blough’s Wait for the Sunshine illustrates
the relationship of plants and weather. Very
young children will also enjoy the facts about
plant growth in Bits That Grow Big by Web-
ber. Books about plants less familiar to pupils
should be brought to the classroom to de-
velop new interests. Such books are The
Story of Mosses, Ferns, and Mushrooms by
Sterling and Wonder-World of Microbes by
Grant. The biography of a giant redwood.
Big Tree, gives information about plants and
animals. The dramatic efforts to save the big
trees form an exciting story written in beau-
tiful prose by Conrad and Mary Buff.
Weather
Television weather reporters have made such
words as “front,” “low,” and “high pressure
area” common household words. Weather is
Pictures and text trace the development of a storm from the first cloud to the arching
of the rainbow. From The Storm Book by Charlotte Zolotow. Pictures by Margaret Bloy
Graham. Harper, 1952.
142 - Knowing Children's Literature
studied at many levels in the elementary
school. Such picture books as Tresselt’s Rain
Drop Splash , Blough’s Not Only for Ducks,
and Zolotow’s The Storm Book encourage
observation and discussion of weather phe-
nomena. Information about the weather bu-
reau is clearly depicted in an “easy” book,
Dan the Weatherman by Barr. Waller has
also written a book for primary grade chil-
dren simply titled, Weather . Changes in air
and moisture are explained in an interesting
style. Gray and yellow are used in Funk's at-
tractive drawings. Excellent cloud photo-
graphs and diagrams explain weather phe-
nomena in Our Changing Weather written
by the Fentons.
Pupils may learn how to construct weather
instruments and to forecast weather as they
carry out suggested activities in Schneider’s
Everyday Weather and How It Works. Fears
of storms may be lessened as children read
Zim’s Lightning and Thunder , Adler’s Hur-
ricanes and Twisters, and Sandman's Who's
Afraid of Thunder ?
The search for whys of the weather is de-
scribed by Gallant in Exploring the Weather .
Large diagrams with shading, color, and
clear explanations clarify causes of weather
change. Interest in the future of the science
of meteorology is encouraged in this com-
plete reference for upper-grade children.
Earth
This wonderful planet — its soil, waters, and
mountains, and the forces constantly creat-
ing changes in its surface are sources of end-
less questions for young scientists. Features
of the earth are described in one of Meyer’s
series, Picture Book of the Earth . The illus-
trations are small, but the text gives a good
background of general information. Another
type of book about the earth is the special
Life edition of The World We Live In. This
volume is distinguished by its beautiful color
photographs and paintings. Fold-out pages
in this reference for older readers give pano-
ramic views of parts of the earth. Geology
wonders are introduced by the Schneiders
in Rocks, Rivers and the Changing Earth. An
example of a book which gives very specific
information is one of the Maxton series,
Mountains and Volcanoes by Medler. On
each page there is a drawing of one mountain
peak. Pronunciation guides are sorely needed
for the names of the mountains. Delia Goetz
has written about such regions of the earth as
Deserts, and The Arctic Tundra. Plant and
animal life, weather, and people who live in
the region are described in simple text.
Earth’s fascinating history is presented in
Story of the Ice Age by Wyler and The First
Book of the Earth by Miner. The sweeping
movements of Lubell’s illustrations give ac-
tion to Selsam’s text in Birth of an Island.
The relationship of plants to animals is
clearly presented in this account of the evolu-
tion of life on an island.
Minerals and resources of the earth have
recently been described in interesting books.
Olds tells in a picture-story. Deep Treasure,
how oil was formed, how it was discovered,
and how it is mined. Julian May’s You and
the Earth Beneath Us includes information
about caves and glaciers while another
“What’s Inside” book by Zim, What's Inside
the Earth, tells about the earth’s core.
Although the surface of the earth is in the
continuous process of being eroded and built
up, the dramatic changes brought by vol-
canoes and earthquakes seem to be of more
interest to children. Galt's story, Volcano,
tells of a Mexican family evicted by the erup-
tion of Paricutin. It not only gives facts; it
shows how the people felt under such strange
circumstances. Excellent photographs of vol-
canoes around the world distinguish Cole-
man’s Volcanoes, New and Old. In addition
to giving information, Johnson suggests dem-
onstrations to illustrate action of volcanoes
and earthquakes in The Story of Earthquakes
and Volcanoes.
Rock collectors of all ages need books to
guide their study. Adventure With Rocks
and Minerals is an interesting kit which in-
cludes a book, specimens, and a guide for
finding and testing rocks. In the book titled
Children Seek Information about the Physical World - 143
Adventure Book of Rocks, Evans suggests
ways to store collections and appeals to the
child’s sense of humor:
You come trudging in with the stones you’ve
collected.
You’ve shown them to everyone who will look at
them.
Now where are you going to put them?
Not on the first chair you come to — they're very
uncomfortable to sit on. Not on the kitchen
sink — they may get mixed up with the
stew . . , 12
A series of “career adventures" published
by Popular Mechanics presents information
about the earth and the men who study it.
Randy Morrow is the teen-age hero of the
series. In There's Adventure in Geology by
Julian May, Randy goes to the Grand Can-
yon, Meteor Crater in Arizona, and the
Upper Peninsula of Michigan. In There's
Adventure in Marine Science, May tells of
Randy’s exploits in exploring the undersea
world in the Caribbean. There is a more defi-
nite plot and more adventure in this book.
Ruzic’s There's Adventure in Meteorology
follows the series pattern by including infor-
mation about the training needed to enter
the profession described.
Energy and Its Uses
Modern children sense the problems created
by the search for the secrets of energy and its
uses. In society today teachers and parents
should encourage girls as well as boys to en-
joy learning about heat, light, magnets, elec-
tricity, atomic energy and machines which
use these forces. Many authors are writing
simple explanations of physical science.
Teachers who feel overwhelmed by the
knowledge of their pupils will also find these
books excellent references to bridge gaps in
their own informational backgrounds.
The world of machines is clarified in such
books as Elting’s Machines at Work, Lent's
“Eva Knox Evans, Adventure Book of Rocks. New
York: Capitol Publishing Company, 1955. p. 66.
Diggers and Builders, Bate's Who Built the
Highway?, and Zaffo's The Big Book of Real
Building and Wrecking Machines . In Every-
day Machines and How They Work and
Things Around the House Schneider and
Zim make common experiences seem uncom-
mon. The mechanics of refrigerators, faucets,
and toilets are explained in the latter book.
There is simple text on the page opposite
clear diagrams and more difficult, additional
information on the reverse side. Young chil-
dren may begin their understanding of en-
ergy and machines as they use Lewellen's
The True Book of Toys at Work . The
Schneiders encourage learning about every-
day machines in Let's Find Out and Let's
Look Under the City.
Experiments with sound, light, heat, mag-
nets and electricity are found in the many
experiment books previously described. Ex-
periments With Light by Beeler and Branley
and Sound: An Experiment Book by Baer
will help pupils understand the more com-
plex ideas presented in such books as Meyer’s
Picture Book of Radio and Television and
Television Works Like This by Bendick.
Books help develop understandings of
sources of power and its uses; they can also
help form attitudes about its uses. Wyler and
Ames show how motorcycles, cars, boats and
trains work. Their conversational style in
What Makes It Go? contributes to the inter-
est of the book. In More Power to You,
the Schneiders point out a significant idea:
Wondering and thinking, planning and sharing
they [people] caught the power of sunlight in its
many forms. They built machines and engines to
work for them. They used power to make life
more pleasant and free for many people. But peo-
ple also use these wonderful things to destroy life.
. . . The power itself cannot choose; only people
can do that. 13
“What can you learn from a car window?”
asks Barr in Young Scientist Takes a Ride .
He proceeds to tell the reader interesting
18 Herman and Nina Schneider. More Power to You .
New York: W. R. Scott, 195S. p. 119.
144 - Knowing Children* s Literature
facts about inertia, reaction, gasoline, and the
Doppler effect of sound. He describes obser-
vation games and activities, for example, esti-
mating distance and comparing it with the
odometer.
An investigation of children's concepts of
atomic energy revealed that third- and sixth-
grade pupils gained much information from
such out-of-school sources as television and
books. 14 It is difficult to explain atomic the-
ory to children, but several authors have used
diagrams, analogies, and cartoons to clarify
these concepts. In The Mighty Atom, Lewel-
len uses analogies with children’s everyday
experience. Text and diagrams of "red, white,
and green particles" clearly illustrate the
atoms of various elements in Neurath's Ex -
ploring the Atom . Peaceful uses of atomic
energy in radio and X-ray are explained.
The superior student will be challenged by
such books as Freeman's All About the Atom
and Bischof's Atoms at Work. He will want
to try some of the demonstrations suggested
by Beeler and Branley in Experiments With
Atomics . Some of the materials suggested for
the experiments may be difficult to obtain,
however. The Walt Disney film, Our Friend
the Atom, was reproduced as a book by the
same title with text by Haber. Its colorful
diagrams enrich the content designed for the
very superior student or teacher.
The wonders of chemistry are revealed to
young scientists as they use such books as
Meyer’s Picture Book of Molecules and
A toms and try the controlled and safe experi-
ments in Experiments in Chemistry by Beeler
and Branley. Older pupils will be interested
in new discoveries in Branley’s interesting
book, Solar Energy.
A summary of many forms of energy is
presented in Hogben’s well-written book,
The Wonderful World of Energy. Text and
illustrations flow together to help the reader
make an initial exploration into this complex
field of study. Books will assist teachers and
pupils in exploring “this wonderful world."
14 Doris Young, “Atomic Energy Concepts of Chil-
dren in Third and Sixth Grade,” School Science and
Mathematics 58:535-40, October, 1958.
Space
Future space pilots continuously ask for
books about space. They want to know how
to get there and what they will find. Interest
in airplanes has shifted to jets, rockets, and
satellites. Teachers and librarians should
help children distinguish between fact and
fiction in these books. It is especially impor-
tant to check the publication date of science
books. Zim’s 1945 edition, Rockets and Jets
and Neurath’s 1952 book, Rockets and Jets,
are still useful because the principles of pro-
pulsion remain the same. However, the infor-
mation in Bendick’s The First Book of Space
Travel, 1953, and Goodwin's The Real Book
About Space Travel, 1952, should be care-
fully studied and compared with recent ex-
plorations.
Young readers are introduced to some
space concepts, but the gnomes and fairies in
Hogan’s The Littlest Satellite seem to em-
phasize the fictional aspect of space flight to
such an extent that the information may be
unnoticed. In contrast, Podendorf's The
True Book of Space gives factual explana-
tions to help young children answer such
questions as “Where is space?" and “How do
rockets travel in outer space?" Branley has
also written a book for children in primary
grades, A Book of Satellites for You. Sizes,
weights, shapes, and speeds of rockets and
satellites are compared with familiar ob-
jects. His companion volume, A Book of
Moon Rockets for You, explains in very sim-
ple text how a rocket works and how it will
be useful. In the Beginner Books series, Ran-
dom House has published You Will Go to the
Moon. First- and second-graders can read for
themselves this book by the Freemans. The
teacher will need to guide discussion to help
children distinguish present accomplishment
from future dream.
The child who reads the last paragraph in
Lewellen’s The Earth Satellite is led toward
the future:
The problems are beyond imagination. But
man will blast off into space and live to tell about
Children Seek Information about the Physical World - 145
it, in 10 or 20 or 30 or 40 or 50 or 60 years from
now You are here to see the beginning. And
you are young enough, probably, to see the
ending. 15
This book, which preceded the first satellites,
presents information in clearly written text
and diagrams, but it is already outdated. Bee-
land and Wells keep material up to date in
Space Satellite, the Story of the Man-Made
Moon . The third edition was published in
1960, three years after its first printing. The
sections dealing with instruments in the satel-
lite and the minitrack system provide infor-
mation often omitted in other space books.
Most ten- to twelve-year-olds will enjoy this
well-illustrated, clearly written book.
Willy Ley bases his Adventures in Space
series upon facts, but there are many conjec-
tures in his books Space Pilots, Space Sta-
tions, and Space Travel. Children will need
guidance in separating present knowledge
from theory and conjecture. A rather dra-
matic, imaginary account of a flight to the
moon gives information, but guidance is
needed in selecting the facts in Moon Trip,
True Adventures in Space by Nephew and
Chester. What men will wear, problems of
navigation, food, problems of weightlessness,
and power for the flight are topics included
in this account. The illustrations seem less
effective because of lack of space. The teacher
may want to check the statement, “the moon
is a planet.”
A general reference which widens the
child’s horizons is The Golden Book of
Astronomy by Wyler and Ames. This well-
illustrated volume provides clear explana-
tions of movements of the earth in the solar
system. Size relationships are developed by
the Schneiders in a book for all ages, How
Big Is Big? This excellent book was revised in
1959.
Patterns in the sky, or constellations, in-
trigue children who are interested in stars.
Zim’s pocket guide, Stars, provides concise
information and maps of the constellations.
15 John Lewellen, Earth Satellite. New York: Alfred
A. Knopf, 1957. p. 58.
The use of familiar objects helps children visualize
the size of scientific tools such as the comparison of
the pencil and the minitrack system. From Space
Satellite ; The Story of the Man-Made Moon by Lee
Beeland and Robert Wells. Illustrated by Jack Cog-
gins. © 1957, 1958, 1960. Prentice-Hall.
A new way of locating stars and constella-
tions is explained in The Stars by Clock and
Fist. This book by H. M. Neely will encour-
age children to establish bearings for locating
stars by considering the Pole Star twelve
o’clock on a clock face and by sighting a
number of “fists” high, as the arm and closed
fist become a sighting guide. The Freemans
have written a very concise and readable
book for younger children, The Sun, the
Moon, and the Stars. Several activities are
suggested to build concepts about the uni-
verse.
Zim has written authoritative, interesting
books about the universe. The Sun includes
an especially complete and clear account of
sunspots. Shooting Stars and Comets exem-
plifies books about other heavenly bodies. Roy
Gallant’s series of “Exploring” books com-
bine straightforward, interesting prose and
artistic interpretations of the sun, moon, and
planets. In Exploring Mars, for example,
fact and fiction are clearly separated, but the
146 - Knowing Children’s Literature
teacher will need to guide the child's inter-
pretation of this book. An outstanding as-
stronomy book is The Moon: Earth’s Natural
Satellite. This very detailed book by Branley
includes photographs through telescopes and
the photograph made by the Russian Satel-
lite, Lunik III. The map of the moon is
clearly explained. Mature readers will be
challenged by the use of mathematical sym-
bols.
The How and Why Book of Rockets and
Missiles by Knight is an example of an in-
expensive, yet accurate and well-written book
in a series edited by Blackwood. To keep in-
formed and to make sure the library provides
current materials, the teacher should be espe-
cially familiar with new titles in the series
books and continuously review new publica-
tions about space.
SUMMARY
Boys and girls seek information about the
physical world. Current events, objects, ani-
mals, changes in the environment, and books
may stimulate curiosity and create problems.
The elementary teacher should guide them
in the process of search through experimen-
tation, first-hand experience, multisensory
materials, and books. To teach problem-solv-
ing skills effectively, many media, laboratory
equipment, and a wide range of literature are
necessary. To use the literature available
today the teacher and librarian must be fa-
miliar with many books. Criteria of authen-
ticity and accuracy, organization, style, and
appeals should be applied in selecting science
books. The use of many books contributes to
the development of skill in the method of
science and to the extension of children’s in-
terests. Children need guidance in using
science books. It is not enough to bring a col-
lection to the classroom. The teacher guides
by teaching skill in locating information, in-
terpreting diagrams and pictures, and by en-
couraging critical thinking about the content
of the book.
SUGGESTED ACTIVITIES
1. Using the criteria developed in this chap-
ter, compare several experiment books.
2. Evaluate several identification books on
one topic, such as trees, birds, or rocks.
3. Imagine you are teaching a first, third, or
fifth grade. A child brings two tadpoles to
school. What books would you bring to
the classroom?
4. Assume you are planning a science-re-
source unit for a particular class. Make a
card file of books you could use with an-
notations similar to those prepared by Mr.
Schuster.
5. Observe children selecting books in a
school or public library. What books do
they check out?
RELATED READINGS
Blough, Glenn; Schwartz. Julius; and Huggett, Albert.
Elementary School Science and How to Teach It.
Revised Edition. New York: Holt, Rinehart and
Winston, 1958.
“Helping Children Learn Science,” Chapter 3,
includes a discussion of "Reading to Find the
Answers.” Criteria for selecting science books are
presented, p. 78-80.
Burnett, R. Will. Teaching Science In the Elementary
School. New York: Holt, Rinehart and Winston,
1953.
In Chapter One the author describes several in-
vestigations of children’s science interests. Impli-
cations for science programs and reading are clearly
drawn.
Craig, Gerald. Science for Elementary Teachers.
Boston: Ginn 8c Co., 1958.
The author relates principles of child development
to science teaching in Chapters 1—3.
Smith, Lillian. The Unreluctant Years. Chicago:
American Library Association, 1953.
The need for books of knowledge and criteria for
their selection are presented in Chapter 12.
Tannenbaum, Harold E.; and Stillman, Nathan.
Science Education for Elementary School Teachers.
Boston: Allyn & Bacon, 1960.
In Chapter Four, Using Reference Materials, the
authors illustrate development of reference skills
by describing classroom situations. The librarians
in this anecdote guide development of skill in using
encyclopedias and other references.
Children Seek Information about the Physical World -
Zim, Herbert. “Informational Books — Tonic and Tool
for the Elementary Classroom/’ Elementary Eng-
lish 29:129-135, March, 1952.
CHAPTER REFERENCES
Adler, Irving. Hurricanes and Twisters. Illustrated
by Ruth Adler. New York: Alfred A. Knopf, Inc.,
1955.
Andrews, Roy C. All About Dinosaurs. Illustrated by
Thomas W. Vater. New York: Random House, Inc.,
1953.
Baer, Marian E. Sound: an Experiment Book. Draw-
ings by Jean Martinez. New York: Holiday House,
Inc., 1952.
Barr, George. Young Scientist Takes a Ride. Pictures
by William D. Hayes. New York: Whittlesey House,
1960.
Barr, Jene. Dan the Weatherman. Pictures by P. J.
Hoff. Chicago: Albert Whitman & Company, 1958.
Barton, Abraham. Pet Book. Illustrated by Lillian
Obligado. New York: Hart Publishing Co., 1958.
Bate, Norman. Who Built the Highway? New York:
Charles Scribner’s Sons, 1953.
Beeland, Lee and Robert Wells. Space Satellite, the
Story of the Man-Made Moon. Illustrated by Jack
Coggins. Third Edition. Englewood Cliffs, N. J.:
Prentice-Hall, Inc., 1960.
Beeler, Nelson F. and Franklyn M. Branley. Experi-
ments with Atomics. Illustrated by A. W. Revell.
New York: Thomas Y. Crowell, 1954.
Experiments in Chemistry. New York:
Thomas Y. Crowell, 1952.
Experiments With Light. Illustrated by Anne
Marie Jauss New York: Thomas Y. Crowell, 1957.
Experiments with a Microscope. Illustrated
by Anne Marie Jauss. New York: Thomas Y.
Crowell, 1957.
Bendick, Jeanne (author-illustrator) . The First Book
of Space Travel. New York: Franklin Watts, Inc.,
1953.
Ha\>e a Happy Measle, A Merry Mumps, and
a Cheery Chickenpox. New York: Whittlesey House,
1958.
and Robert Bendick (authors-illustrators) .
Television Works Like This. New York: Whittlesey
House, 1954.
Bischof, George P. Atoms at Work. Drawings by Jere
Donovan. New York: Harcourt, Brace 8c Company,
1951.
Black, Irma S. Busy Water. Pictures by Jane Castle.
New York: Holiday House, Inc., 1958.
Blough, Glenn O. Not Only for Ducks. Pictures by
Jeanne Bendick. New York: Whittlesey House,
1954.
Wait for the Sunshine. Pictures by Jeanne
Bendick. New York: Whittlesey House, 1954.
■ Who Lives in This House? Pictures by Jeanne
147
Bendick. New York: Whittlesey House, 1957.
Branley, Franklyn M. A Book of Moon Rockets for
You. Illustrated by Leonard Kessler. New York:
Thomas Y. Crowell, 1959.
A Book of Satellites for You. Illustrated by
Leonard Kessler. New York: Thomas Y. Crowell,
1958.
Solar Energy. Illustrated by John Teppick.
New York: Thomas Y. Crowell, 1957.
The Moon: Earth* s Natural Satellite. Illus-
trated by Helmut K. Wimmer. New York: Thomas
Y. Crowell, 1960.
Branley, Franklyn M. and Eleanor K. Vaughn.
Timmy and the Tin-Can Telephone. Illustrated
by Paul Galdone. New York: Thomas Y. Crowell,
1959.
Brindze, Ruth. The Gulf Stream. Illustrated by
Helene Carter. New York: Vanguard Press, 1945.
Bronson, Wilfrid S. (author-illustrator) . Cats. New
York: Harcourt, Brace 8c Company, 1950.
Children of the Sea. New York: Harcourt,
Brace 8c Co., 1940.
Chisel-Tooth Tribe. New York: Harcourt,
Brace 8c Co., 1939.
Horns and Antlers. New York: Harcourt,
Brace 8c Co., 1942.
Turtles. New York: Harcourt, Brace 8c Co.,
1945.
Brown. Margaret Wise. Young Kangaroo. Illustrated
by S\meon Shimin. New York: William R. Scott,
Inc., 1955.
Brown, Vinson. How to Make a Miniature Zoo. Re-
used edition. Illustrated by Don Greame Kelley.
Boston: Little, Brown 8c Company, 1957.
How to Understand Animal Talk. Illustrated
b\ William D. Berry. Boston: Little, Brown 8c
Company, 1958.
Buchsbaum, Ralph. Animals Without Backbones.
Chicago: University of Chicago Press, 1948.
Buck, Margaret W. (author-illustrator) . In Ponds
and Streams. Nashville, Tenn., Abingdon Press,
1955.
Buff, Mar}' and Conrad. Big Tree. New York: The
Viking Press, 1946.
Calder, Ritchie. The Wonderful World of Medicine.
Garden City, N.Y.: Garden City Books, 1958.
Carson, Rachel Louise. The Sea Around Us. Special
edition for young readers adapted by Anne Terry
White. New York: Simon 8c Schuster, 1958.
Chr)stie, Frances N. Pets. Illustrated by Gillett
Good Griffin. New York: Little, Brown 8: Company,
1953.
Coleman, Satis N. Volcanoes, New and Old. Illus-
trated. New York: John Day Co., 1946.
Conklin. Gladys. 7 Like Caterpillars. Pictures by
Barbara Latham. New York: Holiday House, 1958.
Cooper, Elizabeth K. (author- illustrator) . Science in
Your Own Back Yard. New York: Harcourt, Brace
& Company, 1958.
148 - Knowing Children’ s Literature
Coy, Harold. Doctors and What They Do. New York:
Franklin Watts, Inc., 1956.
Darby, Gene. What Is a Butterfly? Pictures by Lucy
and John Hawkinson. Benefic Press, 1958.
What Is a Fish ? Pictures by Lucy and John
Hawkinson. Benefic Press, 1958.
What Is a Frog? Pictures by Lucy and John
Hawkinson. Benefic Press, 1957.
Darling, Louis (author- illustrator) . Kangaroos and
Other Animals with Pockets . New York: William
Morrow & Company, Inc., 1958.
Disney, Walt (Productions) . The Living Desert. New
York: Simon & Schuster, 1954.
Our Friend the Atom. New York: Simon &
Schuster, 1956.
The Vanishing Prairie. New York: Simon &
Schuster, 1955.
Earle, Olive L. (author-illustrator) . Crickets. New
York: William Morrow 8c Company, Inc., 1956.
Mice at Home and Afield. New York: William
Morrow & Company, Inc., 1957.
Swans of Willow Pond. New York: William
Morrow & Company, Inc., 1955.
Elting, Mary. Machines at Work. Illustrated by
Laszlo Roth. Garden City, N.Y.: Garden City
Books, 1953.
Epstein, Samuel and Beryl Williams. The Real Book
About the Sea. Illustrated by Si Frankel. Garden
City, N.Y.: Garden City Books, 1954.
Evans, Eva Knox. Adventure Book of Rocks. Illus-
trated by Vana Earle. New York: Capitol Publish-
ing Co., Inc., 1955.
Fenton, Carroll Lane, (author-illustrator) . Wild Folk
in the Woods. New York: John Day, 1952.
Fenton, Carroll Lane and Evelyn Carswell. Wild
Folk in the Desert. Illustrated. New York: John
Day, 1958.
Fenton, Carroll Lane and Mildred A. Our Changing
Weather. Illustrated. New York: Doubleday 8c Co.,
Inc., 1954.
Prehistoric Zoo. New York: Doubleday 8c Co.,
Inc., 1959.
Fisher, James. The Wonderful World of the Sea.
Garden City, N.Y.: Garden City Books, 1957.
Foster, Polly and Larry. Your Parakeet. Illustrated
by Jerry Bowen. Chicago: Melmont Publishers, 1958.
Freeman, Ira M. All About the Atom. Illustrated by
George Wilde. New York: Random House, Inc.,
1955.
Freeman, Ira M. and Mae B. Fun with Science. Illus-
trated. New York: Random House, Inc., 1943.
The Sun, the Moon, and the Stars. Illus-
trated by Rene Martin. New York: Random House,
Inc., 1959.
You Will Go to the Moon. Illustrated by
Robert Patterson. New York: Random House, Inc.,
1959.
Gallant, Roy A. Exploring Mars. Illustrated by
Lowell Hess. Garden City, N.Y.: Garden City
Books, 1956.
Exploring the Moon. Illustrated by Lowell
Hess. Garden City, N.Y.: Garden City Books, 1955.
Exploring the Planets. Illustrated by John
Polgreen. Garden City, N.Y.: Garden City Books,
1958.
Exploring the Sun. Illustrated by Lee J.
Ames. Garden City, N.Y.: Garden City Books, 1958.
Exploring the Universe. Illustrated by Lowell
Hess. New York: Garden City Books, 1956.
Exploring the Weather. Illustrated by Lowell
Hess. New York: Garden City Books, 1957.
Galt, Thomas Franklyn. Volcano. Pictures by Ralph
Ray. New York: Charles Scribner's Sons, 1946.
Geis, Darlene. Dinosaurs. Illustrated by Kenyon
Shannon. New York: Grosset & Dunlap, Inc., 1960.
Dinosaurs and Other Pre-historic Animals.
Pictures by R. F. Peterson. New York: Grosset &
Dunlap, Inc., 1959.
George, Jean C. (author-illustrator) . The Hole in
the Tree. New York: E. P. Dutton & Co., Inc.,
1957.
Snow Tracks. New York: E. P. Dutton 8c Co.,
Inc., 1958.
Glemser, Bernard. All About the Human Body.
Illustrated by Felix Traugott. New York: Random
House, Inc., 1958.
Goetz, Delia. The Arctic Tundra. Illustrated by
Louis Darling. New York: William Morrow &
Company, Inc., 1958.
Deserts. Illustrated by Louis Darling. New
York: William Morrow & Company, Inc., 1956.
Goodwin, Harold L. The Real Book About Space
Travel. Illustrated by Clifford Geary. Garden City,
N.Y.: Garden City Books, 1952.
Goudey, Alice E. Here Come the Bears! Illustrated
by Garry MacKenzie. New York: Charles Scribner's
Sons, 1954.
Here Come the Beavers ! Illustrated by Garry
MacKenzie. New York: Charles Scribner's Sons,
1957.
Here Come the Seals! Illustrated by Garry
MacKenzie. New York: Charles Scribner's Sons,
1957.
Houses From the Sea. Illustrated by Adrienne
Adams. New York: Charles Scribner’s Sons, 1959.
Grant, Madeleine P. Wonder World of Microbes.
Illustrated by Clifford N. Geary. New York: Whit-
tlesey House, 1956.
Gruenberg, Benjamin and Sidonie. The Wonderful
Story of You. Drawings by Lee Ames. Garden City,
N.Y.: Garden City Books, 1960.
Haber, Heinz. Our Friend the Atom. Illustrated by
the Walt Disney Studio. New York: Simon Sc
Schuster, Inc., 1956.
Harris, Louise and Norman. Little Red Newt. Illus-
trated by Henry Bugbee Kane. Boston: Little,
Brown & Company, 1958.
Children Seek Information about the Physical World - 149
Hausman, Leon A. and Felix Sutton. The Illustrated
Book of the Sea. Illustrated by Art Renshaw and
Herman Bischoff. New York: Grosset & Dunlap,
Inc., 1957.
Herbert, Don. Mr. Wizard's Science Secrets. Drawings
by Robert A. Barker. New York: Popular Mechan-
ics, 1952.
Hinshaw, Alice. The True Book of Your Body and
You. Pictures by Frances Eckart. Chicago: Chil-
drens Press, Inc., 1959.
Hinton, Sam. Exploring Under the Sea. Illustrated
by Rudolf Freund. Garden City, N.Y.: Garden
City Books, 1957.
Hogan, Inez. The Littlest Satellite. New York: E. P.
Dutton & Co., Inc., 1958.
Hogben, Lancelot T. The Wonderful World of
Energy. Eileen Alpin, et al., artists. Garden City,
N.Y.: Garden City Books, 1957.
Hogner, Dorothy. Earthworms. Illustrated by Nils
Hogner. New York: Thomas Y. Crowell, 1953.
Snails. Illustrated by Nils Hogner. New York:
Thomas Y. Crowell, 1958.
Spiders. Illustrated by Nils Hogner. New
York: Thomas Y. Crowell, 1955.
Hoke, Alice Dickinson. The First Book of Plants.
Pictures by Paul Wenck. New York: Franklin Watts,
Inc., 1953.
Holling, Holling C. (author-illustrator) . Minn of
the Mississippi. Boston: Houghton Mifflin Com-
pany, 1951.
Holling, Holling C. Pagoo. Illustrated by the author
and Lucille Webster Holling. Boston: Houghton
Mifflin Company, 1957.
Huntington, Harriet E. Let's Go to the Seashore.
Photographs by the author. New York: Doubleday
8c Company, Inc., 1941.
Hutchinson, William M. A Child's Book of Sea Shells.
New York: Maxton Publishers, Inc., 1954.
The Sea and Its Mysteries. New York: Max-
ton Publishers, Inc., 1958.
Jauss, Anna Marie. Under A Green Roof , Animals
and Birds of Our Woods. Philadelphia: J. B. Lip-
pincott Co., 1960.
Johnson, Gaylord. The Story of Earthquakes and
Volcanoes. New York: Julian Messner, 1938.
Jubelier, Ruth. About Jack's Dental Check Up. Illus-
trated by James D. Johnson. Chicago: Melmont
Publishers, 1959.
Kane, Henry B. Tale of the Promethea Moth. Photo-
graphs by the author. New York: Collins, 1946.
Kettelkamp, Larry, (author-illustrator) . The Magic
of Sound. New York: William Morrow 8e Company,
Inc., 1956.
Knight, Clayton. Rockets and Missiles. New York:
Grosset Sc Dunlap, Inc., 1960.
Lane, Ferdinand C. All About the Flowering World .
Illustrated by Russell Francis Peterson. New York:
Random House, Inc., 1956.
All About the Sea. Illustrated by Fritz Kredel.
New York: Random House, Inc., 1953.
Larrick, Nancy. See for Yourself. Illustrated by Frank
Jupo. New York: Aladdin, 1952.
Leach, Maria. Beginning: Creation Myths Around
the World. Illustrated by Jan Bell Fairservis. New
York: Funk Sc Wagnalls Co., 1956.
Leaf, Munro. Science Can Be Fun. Illustrated. Phila-
delphia: J. B. Lippincott Co., 1958.
Leeming, Joseph. The Real Book of Science Experi-
ments. Illustrated by Bette J. Davis. Garden City,
N.Y.: Garden City Books, 1954.
Lemmon, Robert S. All About Strange Beasts of the
Present. Illustrated by Rudolf Freund. New York:
Random House, Inc., 1957.
Lent, Henry B. (author-illustrator) . Diggers and
Builders. New York: The Macmillan Company,
1931.
Lewellen, John B. Earth Satellite. Illustrated by Ida
Scheib. New York: Alfred A. Knopf, Inc., 1957.
The Mighty Atom. Illustrated by Ida Scheib.
New York: Alfred A. Knopf, Inc., 1955.
The True Book of Toys at Work. Pictures
by Karl Murr. Chicago: Childrens Press, Inc.,
1953.
Lewis, Lucia Z. The First Book of Microbes. Pictures
by Margeurite Scott. New York: Franklin Watts,
1955.
Ley, Willy. Space Pilots. Illustrated by John Polgreen.
New York: Golden Press, 1958.
Space Stations. Illustrated by John Polgreen.
New York: Golden Press, 1958.
Space Travel. Illustrated by John Polgreen.
New York: Golden Press, 1958.
Life (Periodical) Editorial Staff. The World We
Live In. Text adapted by Jane Werner Watson.
New York: Simon Sc Schuster, Inc., 1956.
Lynde, Carleton Science Experiences with Home
Equipment. Scranton, Pa.: International Textbook
Company, 1949.
Malter, Morton S. Our Tiniest Animals. Pictures by
Dirk. Chicago: Albert Whitman 8c Co., 1955.
Mason, George F. Animal Homes. Illustrated. New
York: William Morrow Sc Company, Inc., 1947.
Animal Tools. Illustrated. New York: William
Morrow 8c Company, Inc., 1951.
Animal Tracks. Illustrated. New York: Wil-
liam Morrow Sc Company, Inc., 1943.
Animal Weapons. Illustrated. New York: Wil-
liam Morrow 8c Company, Inc., 1949.
McClung, Robert M. (author-illustrator) . Sphinx,
Story of a Caterpillar. New York: William Morrow
Sc Company, Inc., 1949.
May, Julian. You and the Earth Beneath Us. Pictures
by Beth Wilson. Chicago: Childrens Press, Inc.,
1958.
There's Adventure in Geology. Illustrated by
Robert Borja. New York: Popular Mechanics, 1959.
There's Adventure in Marine Science . Illus-
150 - Knowing Children’ s Literature
trated by Richard Potts. New York: Popular
Mechanics, 1959.
Medler, James V. Mountains and Volcanoes . New
York: Maxton Publishers, Inc., 1954.
Meyer, Jerome S. Picture Book of the Earth. Illus-
trated by Richard Floethe. New York: Lothrop,
Lee & Shepard Co., Inc., 1949.
Picture Book of Molecules and Atoms. Illus-
trated by Richard Floethe. New York: Lothrop,
Lee & Shepard Co., Inc., 1947.
Picture Book of Radio and Television and
How They Work. Illustrated by Richard Floethe.
New York: Lothrop, Lee & Shepard, Co., Inc., 1951.
Miner, Opal Irene. First Book of the Earth. Pictures
by Mildred Waltrip. New York: Franklin Watts,
Inc., 1958.
The True Book of Plants We Know. Illus-
trated by the author and Karl Murr. Chicago:
Childrens Press, Inc., 1953.
Miner, Roy W. Field Book of Seashore Life. New
York: G. P. Putnam’s Sons, 1950.
Morgan, Alfred P. Aquarium Book for Boys and
Girls. Photographs and drawings by the author.
New York: Charles Scribner's Sons, 1936.
Morrow, Betty. See Up the Mountain. Pictures by
Winifred Lubell. New York: Harper & Brothers,
1958.
Neely, Henry M. (author-illustrator) . The Stars by
Clock and Fist. New York: The Viking Press, 1956.
Nephew, William and Michael Chester. Moon Trip ,
True Adventures in Space. Illustrated by Jerry
Robinson. New York: G. P. Putnam’s Sons, 1959.
Neurath, Marie R. (author-illustrator) . The Deep
Sea. New York: Sterling Publishing Co., Inc., 1958.
Exploring the Atom. New York: Lothrop, Lee
Sc Shepard Co., Inc., 1957.
Rockets and Jets. New York: Lothrop, Lee Sc
Shepard Co., Inc., 1952.
Too Small to See. New York: Sterling Pub-
lishing Co., Inc., 1957.
Norling, Josephine and Ernest, (authors-illustrators) .
The First Book of Water. New York: Franklin
Watts, Inc., 1952.
Olds, Elizabeth (author-illustrator) . Deep Treasure.
Boston: Houghton Mifflin Company, 1958.
Osmond, Edward. Animals of the World. New York:
Oxford University Press, 1957.
Parker, Bertha M. Golden Treasury of Natural His-
tory. New York: Simon 8c Schuster, Inc., 1952.
Peattie, Donald Culross. The Rainbow Book of
Nature. Cleveland: World Publishing Company,
1957.
Perry, John. Our Wonderful Eyes. Pictures by Jeanne
Bendick. New York: Whittlesey House, 1955.
Peterson, Roger Tory. The Junior Book of Birds.
Boston: Houghton Mifflin Company, 1939.
Pistorius, Anna (author-illustrator) . What Bird Is It ?
Chicago: Follett Publishing Co., 1945.
What Butterfly Is It? Chicago: Follett Pub-
lishing Company, 1949.
What Dinosaur Is It? Chicago: Follett Pub-
lishing Company, 1958.
What Tree Is It? Chicago: Follett Publishing
Company, 1955.
Podendorf, Ilia. The True Book of Animals of the
Sea and Shore. Illustrated by Chauncey Maltman.
Chicago: Childrens Press, Inc., 1956.
The True Book of More Science Experiments.
Illustrated by Chauncey Maltman. Chicago: Chil-
drens Press, Inc., 1956.
The True Book of Science Experiments. Pic-
tures by Mary Salem. Chicago: Childrens Press, Inc.,
1954.
The True Book of Space. Pictures by Robert
Borja. Chicago: Childrens Press, Inc., 1959.
Pope, Clifford H. Reptiles Round the World. Illus-
trated by Helem Damrosch Tee- Van. New York:
Alfred A. Knopf, Inc., 1957.
Ravielli, Anthony (author-illustrator) . Wonders of
the Human Body. New York: The Viking Press,
1954.
Reed, William Maxwell. The Sea for Sam. Illustrated
b) Wilfrid S. Bronson. New York: Harcourt, Brace
& Company, 1935.
Reed, W. Maxwell and Wilfrid Bronson. The Sea
for Sam. Edited by Paul Brandewein. Illustrated
with photographs. Revised edition. New York: Har-
court, Brace Sc Company, 1960.
Rojankovskv, Feodor (illustrator) . The Great Big
Wild Animal Book. New York: Simon 8c Schuster,
Inc., 1951.
Rounds, Glen (author-illustrator) . Wildlife at Your
Doorstep. Englewood Cliffs, N.T.: Prentice-Hall,
Inc., 1958.
Ruzic, Neil R. There* s Adventure in Meteorology.
Illustrated by Frank Murphy. New York: Popular
Mechanics, 1958.
Sandman, Howard E. Who's Afraid of Thunder?
Drawings by Peter White. New York: Sterling Pub-
lishing Co., Inc., 1953.
Saunders, John R. Golden Play Book of Sea Shells
Stamps. Illustrated by James G. Irving. New York:
Simon 8c Schuster, Inc., 1957.
Scharff, Robert. Look For a Bird's Nest. Illustrated
by Valerie Swanson. New York: G. P. Putnam's
Sons, 1958.
Scheele, William E. (author-illustrator) . Ancient
Elephants. Cleveland: World Publishing Company,
1958.
Schloat, G. Warren (author-illustrator) . Andy's
Wonderful Telescope. New York: Charles Scrib-
ner’s Sons, 1958.
The Magic of Water. New York: Charles
Scribner’s Sons, 1955.
Your Wonderful Teeth. New York: Charles
Scribner’s Sons, 1954.
Children Seek Information about the Physical World - 151
Schneider, Herman. Everyday Machines and How
They Work . Pictures by Jeanne Bendick. New
York: Whittlesey House, 1950.
Everyday Weather and How It Works. Pic-
tures by Jeanne Bendick. New York: Whittlesey
House, 1951.
Schneider, Herman and Nina. Follow the Sunset. Pic-
tures by Lucille Corcos. New York: Doubleday &
Company, Inc., 1952.
How Big Is Big ? Illustrated by Symeon
Shimin. Leicester, England: Brockhampton, Lim-
ited, 1959.
How Your Body Works. Illustrated by Bar-
bara Ivins. New York: William R. Scott, Inc., 1959.
Let's Find Out. Pictures by Jeanne Bendick.
New York: William R. Scott, Inc., 1946.
Let’s Look Under the City. Illustrated by
Bill Ballantine. New York: William R. Scott, Inc.,
1954.
More Power to You. Illustrated by Bill Bal-
lantine. New York: William R. Scott, Inc., 1953.
Now Try This. Pictures by Bill Ballantine.
New York: William R. Scott, Inc., 1947.
Rocks, Rivers and the Changing Earth. Illus-
trated by Edwin Herron. New York: William R.
Scott, Inc., 1952.
Science Fun with Milk Cartons. Pictures by
Jeanne Bendick. New York: Whittlesey House,
1953.
Schneider, Leo. Lifeline: The Story of Your Circula-
tion System. Illustrated by Jere Donovan. New
York: Harcourt, Brace & Co., 1958.
Schwartz, Julius. It’s Fun to Know Why. Illustrated
by Edwin Herron. New York: Whittlesey House,
1952.
Through the Magnifying Glass. Pictures by
Jeanne Bendick. New r York: Whittlesey House,
1954.
Selsam, Millicent E. All About Eggs and How They
Change Into Animals. Illustrated by Helen Ludwig.
New York: William R. Scott, Inc., 1952.
Birth of an i ''mud. Pictures by Winifred
Lubell. New York: llaiper & Brothers, 1959.
Play with Vines. " .«rat*_d by Fred Scherer.
New York: William Morrow Sc Company, Inc., 1951.
Play with Seeds. Illustrated by Helen Ludwig.
New York: William Morrow & Company, Inc., 1957.
See Through the Forest. Pictures by Winifred
Lubell. New York: Harper 8c Brothers, 1956.
See Through the Jungle. Pictures by Winifred
Lubell. New York: Harper 8c Brothers, 1957.
, and Betty Morrow. See Through the Sea.
Pictures by Winifred Lubell. New York: Harper Sc
Brothers, 1955.
Sterling, Dorothy. The Story of Mosses, Ferns, and
Mushrooms. Photographs by Myron Ehrenberg.
New York: Doubleday Sc Company, Inc., 1955.
Creatures of the Night. Illustrated by Wini-
fred Lubell. New York: Doubleday & Company,
Inc., 1960.
Strain, Frances Bruce. Being Bom. New York: Apple-
ton -Century-Crofts, Inc., 1954.
Thayer, Ruth rf. Mr. Wizard's funior Science Show.
Skokie, 111.: Rand McNally 8c Co., 1957.
Tresselt, Alvin. Rain Drop Splash. Pictures by Leon-
ard Weisgard. New York: Lothrop, Lee 8c Shepard
Co., Inc., 1946.
UNESCO. 700 Science Experiments for Everyone.
Illustrated. New York: Doubleday Sc Company, Inc.,
1958.
Waller, Leslie. Weather. Illustrated by Tom Funk.
New York: Holt, Rinehart and Winston, 1959.
Webber, Irma E. (author-illustrator) . Bits That
Grorv Big. New York: William R. Scott, Inc., 1949.
Wilson, Mitchell. The Human Body What It Is
and How It Works. Illustrated by Cornelius De-
Witt. New York: Golden Press, 1959.
Wyler, Rose. The First Book of Science Experiments.
Pictures by Ida Scheib. New York: Franklin Watts,
Inc., 1952.
Wyler, Rose and Gerald Ames. The Golden Book of
Astronomy. Illustrated by John Polgreen. New
York: Simon Sc Schuster, Inc., 1955.
What Makes It Go? Illustrated by Bernice
Myers. New York: Whittlesey House, 1958.
Story of the Ice Age. Pictures by Thomas W.
Voter. New York: Harper Sc Brothers, 1956.
Yates, Raymond. Fun with Your Microscope. New
York: Appleton-Century-Crofts, Inc., 1943.
Zaffo, George J. (author-illustrator) . The Big Book
of Real Building and Wrecking Machines. New
York: Grosset 8c Dunlap, Inc., 1951.
Zim, Herbert S. Comets. Illustrated by Gustav Schrot-
ter. New York: William Morrow 8c Company, Inc.,
1957.
Frogs and Toads. Illustrated by Joy Buba.
New York: William Morrow Sc Company, Inc., 1950.
Golden Hamsters. Illustrated by Herschel
Wartik. New York: William Morrow 8c Company,
Inc., 1951.
Lightning and Thunder. Illustrated by James
Gordon Irving. New York: William Morrow 8c
Company, Inc., 1952.
Ostriches. Illustrated by Russell Francis Peter-
son. New York: William Morrow Sc Company, Inc.,
1958.
Owls. Illustrated by James Gordon Irving.
New York: William Morrow 8c Company, Inc., 1950.
Parakeets. Illustrated by Larry Kettelkamp.
New York: William Morrow 8c Company, Inc., 1953.
Rockets and Jets. Harcourt, Brace 8c Co., 1945.
Shooting Stars. Illustrated by Gustav Schrot-
ter. New York: William Morrow 8c Company, Inc.,
1958.
The Sun. Illustrated by Larry Kettelkamp.
New York: William Morrow & Company, Inc., 1953.
152 - Knowing Children's Literature
Things Around the House. Illustrated by
Raymond Perlman. New York: William Morrow &
Company, Inc., 1954.
What's Inside of Animals? Illustrated by Her-
schel Wartik. New York: William Morrow & Com-
pany, Inc., 1955.
What's Inside of Me? Illustrated by Herschel
Wartik. New York: William Morrow & Company,
Inc., 1952.
What's Inside of Plants? Illustrated by Her-
schel Wartik. New York: William Morrow & Com-
pany, Inc., 1952.
What’s Inside the Earth? Illustrated by Ray-
mond Perlman. New York: William Morrow &
Company, Inc., 1953.
Your Food and You. Illustrated by Gustav
Schrotter. New York: William Morrow 8c Company,
Inc., 1957.
Your Heart and How It Works. Illustrated by
Gustav Schrotter. New York: William Morrow &
Company, Inc., 1959.
Zim, Herbert S. and Ira N. Gabrielson. Birds. Illus-
trated by James Gordon Irving. Golden Nature
Guides. New York: Simon & Schuster, Inc., 1956.
Zim, Herbert S. and Hobart M. Smith. Reptiles and
Amphibians. Illustrated by James Gordon Irving.
Golden Nature Guides. New York: Simon &
Schuster, Inc., 1953.
Zim, Herbert S. and Lester Ingle. Seashores: A Guide
to Animals and Plants Along the Beaches. Illus-
trated by Dorothea and Sy Barlowe. New York:
Simon & Schuster, Inc., 1955.
Zim, Herbert S. and Robert H. Baker. Stars. Illus-
trated by James Gordon Irving. New York: Simon
and Schuster, Inc., 1951.
Zolotow, Charlotte. The Storm Book. Pictures by
Margaret Bloy Graham. New York: Harper 8c
Brothers, 1952.
5 -Children Seek Information
About People and Places
The chairman of the sixth grade class was
conducting the daily discussion of current
events in the local community, nation, and
world. He called upon Joe who reported, “I
saw an interview on television with a man
from the Congo in Africa and he told about
the new country which is going to be inde-
pendent. It used to be owned by Belgium."
“Would you locate it on the map for us?"
Bob, the chairman, asked. (These children
had been consistently guided to locate un-
familiar places in the news.) Joe pointed to
the country.
“How did they get their independence?"
queried Carol. “Did they fight for it?"
“I’m not sure," Joe responded. “I remem-
ber this man said they had an election."
Mr. Prentice, the teacher, asked the class,
“What do you know about this region?"
“It is hot."
“It rains a lot."
“People are very backward."
“They don’t need many clothes or strong
houses."
“They don’t have much education." These
were the responses which reflected the rather
limited knowledge of the children.
“But some of them have gone to school,"
Jane noted. “Who will be smart enough to
run the government when only a few are
really — well — really civilized?"
“My Dad says Africa is going to be a great
power and we'd better watch out," added
Charles.
“How could it be powerful when they’re
just natives?" Bob questioned.
“Well, they have a lot of resources," com-
mented Janet. “There is gold and they mine
diamonds.”
“But they don’t know how to do things —
like make cars and fly planes and stuff like
that," Mike asserted. “And they have very
old-fashioned, well, I think it’s primitive
ways."
Children use bdbks and many materials to learn about people and places. Drawing for
cover. Magazine of Books, Chicago Sunday Tribune (November 11, 1951). By Elizabeth
Orton Jones.
Ellen had remained quiet, but raised her
hand to add, “I read a book called Thirty-
One Brothers and Sisters and they did have
what you called — primitive ways, Mike. But
the children really were sort of like us. They
had work to do and liked games and fun and
I think they could learn a lot.”
Mr. Prentice asked, “Do you know the
names of the different countries in Africa?
How are the various regions different? Just as
the American colonies struggled to form a gov-
ernment, many countries in Africa are strug-
gling to gain independence. The people have
154
had to change very quickly from a primitive
civilization to a modern civilization; this cre-
ates many problems. Let's continue to bring
in news items and find more information
about Africa.”
The student chairman said, “Probably
we’ve talked enough since we don't have too
much information. How many are interested
in giving some special reports? Mary, would
you write down the names?”
The room secretary wrote the names on a
chart near the chalk board under the head-
ing, “Find Out More About Africa Today.”
Children Seek Inf ormation about People and Places - 155
BOOKS AND THE SOCIAL STUDIES
This class had raised some significant prob-
lems. Their interest in other countries and
changing patterns of life had been aroused
through this current events discussion. Mr.
Prentice, the teacher, will provide recent ma-
terials in magazines and pamphlets. The
children who make special reports will use
several books to get information about the
lands and people of Africa. Perhaps the class
will plan a longer study of these countries.
The teacher will guide their future discus-
sions as the special reports are given. The
study will center upon the geographic fea-
tures and resources of Africa and the ways
men have used them. The children will learn
more about the relationships of men on this
continent — relationships to the environment
and to each other. Literature will play a sig-
nificant part in the development of under-
standings of other people.
The Social Studies Curriculum
Mr. Prentice was teaching several aspects of
social studies during this current events dis-
cussion. He provided opportunity for devel-
opment of the social skills of group work —
leadership, and effective participation. The
classroom itself was a laboratory in develop-
ing good human relations. He was concerned
with the development of attitudes toward
others. He was guiding children to seek accu-
rate information about environments and
people.
In this school, social education permeated
the activities of the entire school day. The
teachers were concerned with the develop-
ment of good human relations on the play-
ground, in the cafeteria, and through service
projects for school and community. Social
education also included study of people and
their relationships to each other and their
environment in the past and in the present.
There was a planned program for develop-
ment of concepts related to the content of the
social studies drawn from the disciplines of
history, geography, economics, sociology, po-
litical science, and anthropology. The social
studies program was organized around broad
units emphasizing man's social processes such
as transportation, communication, and pro-
duction of food, clothing, and shelter. Each
year all children had the opportunity to learn
more about man in his home, his community,
his state, his nation, and his world. In each
grade one area of living usually received
greater emphasis while the other areas were
developed informally; for example, in second
grade, emphasis was upon the community,
while in the sixth grade, the guide suggested
emphasis upon other lands. However, the
second graders might learn about foods in
other lands and the sixth graders might study
current community problems for a short
period of time. Flexibility was provided in
the curriculum guide in order that current
interests could be met.
Organizational patterns for broad social
education or the more narrowly defined so-
cial studies vary widely in elementary schools.
In some schools history and geography will
be taught as separate subjects; in other
schools subjects retain their identity, but are
correlated. For example, the geography of
New England may be studied concurrently
with the Colonial period in the history class.
The problem-solving approach suggested in
many schools emphasizes broader relation-
ships. Regardless of the organizational pat-
tern, the elementary school should develop
concepts which will enable children to func-
tion effectively in their social world today and
tomorrow. Examples of these concepts are:
• Man’s natural environment to a large
extent helps shape the character of his
economic and social activities.
• The physical make-up of the earth makes
some areas more desirable for men's
activities and life than others.
• Areas rich in resources have been sources
of competition among major groups of
people.
• Topography, water, and climate have
156 - Knowing Children's Literature
had important influences on the move-
ment of people and settlements.
• Man varies his use of an area as resources
are depleted or as new resources are
discovered.
• There are many, many people on the
earth and these people have much in
common.
• People in various parts of the world meet
their needs for food, clothing, shelter,
and recreation in different ways.
No single experience results in the develop-
ment of such concepts. Many experiences and
many books will be needed to help children
build these generalizations. Children begin
with simple facts and continue the process of
concept development throughout life. The
elementary teacher provides the materials
and the stimulation to help the child make
these facts of the world of today and yester-
day a part of his conceptual background.
Books in the Social Studies Curriculum
The curriculum for social education provides
experiences which develop understandings
of man’s social relationships in the world to-
day, his social relationships in the past, and
understandings of inter-personal relation-
ships of individuals. Literature can help the
child achieve these understandings. Facts are
needed to solve problems of relationships in
the present, whether with classmates, one’s
family, or with the community. Although
children gain facts through first-hand experi-
ences, through interviews and discussions,
and through audio-visual materials, books
represent a major source of information.
The process of identifying problems, gath-
ering data from many sources, and sharing
information in varied ways was described in
Chapter Four. A similar procedure is recom-
mended as children seek to solve problems of
human relationships and as they search for
understanding of people and places. To de-
velop skills of using many materials to solve
problems, to extend experiences with many
peoples, and to provide for individual inter-
ests and abilities, the teacher must use a wide
variety of children’s books. One text can not
provide for the wide informational needs nor
satisfy the varied reading abilities of the chil-
dren in one class.
The elementary teacher is aware that once
children seek information about regions be-
yond their community, learning becomes vi-
carious. The child in Iowa learns about the
forests of the Pacific Northwest through pic-
tures, films, books, and exhibits; similarly, he
learns about the jungles of the Amazon or the
forests of Germany. In a sense, the phrase
“Other Lands’’, refers to any land not yet ex-
perienced — land away from the immediate
area. It is interesting to note Webster’s defini-
tion of foreign ; the first definition, “Situated
outside a place or country, esp. outside one’s
own country or locality” might be compared
with a second definition, now rendered obso-
lete, “Not of, or not pertaining to, one’s home
or household.” It seems probable that travel
at 2100 miles per hour and world-wide tele-
vision will make the first definition obsolete
in the future, for one’s locality will truly ex-
tend around the planet, and “foreign” will be
the reaches of outer space. The child’s imme-
diate community is expanding as he travels
vicariously via television. The mobility of
our population and extensive vacation travel
make the remote familiar. The school cur-
riculum should make use of children’s expe-
riences and extend them through the use of
many media. Concurrently, the elementary
teacher turns to the wide variety of literature
available to help children better understand
these “other lands” and the people who in-
habit them.
Criteria for Books About People
and Places
In selecting books about people and places,
the general criteria for informational books
suggested in Chapter 4 should be considered.
There are some additional questions which
should be asked as the teacher reviews books
about other lands. Clear photographs, accu-
rate illustrations, and representative scenes
are important in the book dealing with geo-
graphic concepts. Does the text explain the
significance of terrain, climate, resources?
Children Seek Information about People and Places - 157
Does the reader realize the effect of isolation,
lack of education, and communication upon
the people? Do pictures and text help the
child become aware of the differences within
one region or country? Is the style of writing
really interesting to children? In far too many
books, the reader feels he has been bom-
barded with details delivered in lecture form.
In some of the travel books, it seems the
reader is running to maintain the pace of the
guide who is talking rapidly as cities, monu-
ments, and factories are viewed. Some travel
books are still written in a didactic style. Fic-
tionalized relatives or friends introduce
topics in order to squeeze in bits of informa-
tion during dinner or family walks. Imag-
inary trips are planned which seem highly
improbable. Therefore, the teacher should
ask, does the style seem realistic? In books of
fiction are the characters believable? Are
stereotypes avoided? Are the Dutch portrayed
only in wooden shoes? Are Japanese children
merely porcelain figures in bright kimonos,
always smiling and courteous?
TYPES OF BOOKS ABOUT PEOPLE AND PLACES
The following types of books illustrate the
wide range of literature about people, social
processes, and places. Children want to know
more about people, their countries, and their
ways of living. 1 They also seek understanding
of ethics, values, and religion. 2 Children’s
books related to the social studies curriculum
are presented in the following three chapters:
Chapter 5 reviews books about The Earth as
Man’s Home, Man and His Social Processes,
The United States Today, and Other Lands
Today. Both factual and fictional books are
included. Chapter 6 presents biography, fac-
tual history books, and historical fiction,
while Chapter 7 discusses literature which
will help the child better understand himself
and interpersonal relations with others.
The Earth as Man’s Home
Many of the books reviewed in Chapter 4
help children understand the features, re-
sources, and climate of this planet which in-
fluence man's behavior. Emphasis upon the
theme, The Earth As Man’s Home, will assist
children in building a concept of man relat-
ing to his environment. Children need first-
hand experiences with soil, trees, plants, and
Arthur T. Jersild and Ruth J. Tasch, Children's
Interests and What They Suggest for Education. New
York: Teachers College, Columbia University, 1949.
8 Herbert C. Rudman, “Informational Needs and
Reading Interests of Children in Grades IV Through
VIII,” Elementary School Journal 55:502-12, May,
1955.
animals; they also need to explore through
literature.
What Is the World? by Miles brings to
young children the concept of a round planet
with land and sea, mountains, and rivers. In
I Live in So Many Places, Hengesbaugh de-
scribes the world in which the child lives.
Each page develops the idea of a place where
the child lives — in a house on a street, in a
town or city, in a state, a country, a continent,
and a hemisphere. The simple line drawings
help clarify the meaning of these words.
Some beginning geographies give an intro-
duction to the continents and to the life upon
them. This Is the World by Pease is an excel-
lent beginning geography for children in
grades two and three. The illustrations in this
book help to clarify the idea of gravity pull-
ing toward the center of the earth. Other pic-
tures show air around the earth, the earth's
inner core, the continents, and the different
regions with their plants and animals. The
smiling children of the world seem to be
friends, and the author writes, “Reading
books and magazines and newspapers is a fine
way for people on the Earth to get together." 8
The Golden Geography by Werner is another
geography which provides a useful introduc-
tion to map reading. Parents and teachers
alike will appreciate the suggestions for learn-
ing to tell direction. The illustrations make
•Josephine Pease, This Is the World. Skokie, Illi-
nois: Rand McNally & Co., 1944. p. 66.
158 - Knowing Children's Literature
the text come alive as information about
rivers, climates, surface features, and waters
of the continents is given in a straightforward
manner. The index is also helpful. Sonder-
gard writes at the middle-grade child’s level
without talking down to him as she describes
the continents in My First Geography of the
Pacific and My First Geography of the Amer-
icas. The illustrations in the former blend
with the text more effectively than the spotty
drawings in the book about the Americas.
The content in these books is very general,
but children will enjoy browsing in them.
Maps and descriptions of continents will
not suffice to develop concepts about the
earth. Children need to use books about
rivers, soil, mountains, and life of the earth.
Many of these books were cited in Chapter
Four, but additional examples will indicate
the types of literature available which will be
useful in developing geographical concepts.
In The Wonder World of Land and Water,
Neurath illustrates rock formations, vol-
canoes, earthquakes, and geysers. The teacher
would need to provide additional informa-
tion about the theories of the core of the
earth, however. One of the All About Series,
Great Rivers of the World, presents fascinat-
ing information about the Nile, Amazon,
Yangtze, Volga, and Mississippi in a very in-
teresting style. White’s vivid description of
the 25,000 square miles of marsh creates a far
different picture of the Nile than one usually
holds. The reader is eager to follow the au-
thor to the next river. Economic concepts are
integrated as she describes changes in use of
rivers to meet modern industrial needs. An-
other example of geography in literature for
children is The Arctic Tundra by Goetz.
Animal and plant life in these far-reaches
which are becoming more and more impor-
tant to man, are described in clear text
and black-and-white drawings. The diagrams
showing the cause of seasonal change will
need to be supplemented with experiences
with the globe. Unfortunately, there is no pro-
nunciation guide. Holling’s Minn of the Mis-
sissippi is usually considered an animal book,
but there is geography here as the reader fol-
lows the turtle’s journey down the Missis-
sippi. People, industries, and evidences of
early explorations are related as the indefati-
gable Minn wends her way to the Gulf. This
author has also presented geographic con-
cepts of the Great Lakes region in Paddle-to-
the Sea.
In Why We Live Where We Live, Evans
helps children realize the relationship of the
work men do to mountains, rivers, harbors,
and resources. This would provide an excel-
lent introduction to the study of any country.
As the children become familiar with the
globe’, the teacher might read about the rela-
tionship of environmental factors to the life
of people.
Some of the fine picture books for children
contain geographical concepts. Time of Won-
der is an example of a book which develops
geographic concepts. As the rhythmic text de-
scribes life in Maine, and as the eye wanders
over McCloskey’s lovely island landscapes,
the child builds an appreciation of land,
water, sky, and the plants, animals, and peo-
ple on the island. The effect of the weather
on economy and activities of man is illus-
trated as the fog lifts, the hurricane blows,
and cold winds come.
The soft pink glow of the sunset reflects on
each page of Follow the Sunset. The Schnei-
ders describe the rhythm of life around the
world as families return from work, eat,
laugh together, and sing the little ones to
sleep. Differences in environment, work,
dress, home, food, and language are shown,
but all are united in the need for rest and
comfort in the family circle as the earth keeps
turning and the reader follows the sunset.
The recording 4 of folk lullabys, under the
same title, would enrich the experience of
this book which is enjoyed by children in
primary and middle grades.
Man and His Social Processes
Man is a flexible, imaginative creature who
has adapted to his environment as he engaged
4 Follow the Sunset, Folkways Record FC7406. Folk-
ways Records, 117 West 46th Street, New York 36,
New York.
in the social processes necessary to maintain
and enhance life. Children need understand-
ing and appreciation of social processes in
their own region, other lands, and in the past.
Children today have few opportunities to ob-
serve many of the processes of providing
food, clothing, and shelter. Technology cre-
ates complex industries; many factory work-
ers are unaware of the total production
process. Combined with first-hand experience
and visual materials, books help provide clear
concepts regarding our interdependence in
the production of goods and services. Trans-
portation, communication, government, rec-
reation, and esthetic appreciation are in-
cluded in these processes.
SHELTER
Provision for shelter becomes part of a study
of the community or is integrated in an ex-
ploration of life in the past or other lands.
An easy book by Miles, A House for Every-
one develops the concept that houses differ,
but all of them provide shelter. Some of the
concepts are summarized by Burns in A
World Full of Homes:
From the travels of a miniature canoe children
learn about the Great Lakes Region. From Paddle-
to-the-Sea by Holling C. Holling. Houghton Mifflin,
1941.
1. People live in homes because they need shel-
ter .. .
2. They make their homes in ways that seem best
to them . . .
3. We know that people were influenced by the
country they lived in . . . 5
As informational books develop such con-
cepts, we also need to be aware of attitude
development. Burns continues, “. . . you make
your home by the way you live in it. The way
you think and act makes your home . . . and
the most important thing of all is the love all
of us give to and receive from our family ." 6
One of the series about Pogo, Pogo’s House,
tells how John goes to a forest and learns how
lumber is obtained for the house. Size rela-
tionships are shown clearly in the drawings
of this book by the Norlings. Step by step, the
8 William A. Burns, A World Full of Homes. New
York: Whittlesey House, 1953. p. 114.
•Ibid., p. 117.
child can follow the building of a house in
How Do You Build a House ? by Mason.
Houses by Werner and The Story of Houses
by Case show how houses are built of avail-
able material. The soft, warm colors in Wer-
ner s book and the easy text make it useful
for primary grades, while the book by Case
will be more appropriate for older children.
However, both age groups will use the infor-
mation given in the pictures of both books.
Osmond’s book, Houses, traces the develop-
ment of houses. Here we see floor plans, ex-
teriors, and cutaway drawings of a Roman
villa, a Manor house, and Georgian and Vic-
torian homes. The academically superior
child in a second or third grade would be
challenged by such books.
Building a skyscraper is described in Yen
Liang’s beautiful picture book. The Sky-
scraper. Children will enjoy the planning
meeting viewed from above, for it is drawn
A cross-sectional diagram Bhows busy
workers using many tools in building
a skyscraper. From Skyscraper by Yen
Liang. Lippincott, 1958.
much as a child would draw. The big ma-
chines as well as hand tools are shown in
browns and blacks.
FOOD
From the numerous books about farming,
some examples will illustrate factors to con-
sider in selection. The provincial atmosphere
and Ipcar's well-designed double-page murals
in Ten Big Farms are delightful. Since the
many activities on one type of farm are
shown, the children may gain the impression
that all occur at the same time. For example,
fruit trees are being sprayed and picked in
the same scene. Buehr includes the history of
meat and bread in Meat from Ranch to
Table and Bread the Staff of Life. Older chil-
dren will enjoy such interesting anecdotes as
the story of John Bird who stole dough from
loaves brought to be baked in his ovens.
Buehr includes modern machinery and
clearly explains complex processes. Cotton
Growing by Harvey and Peter's Sugar Farm
by Burt are family stories which present
160
much information. In each of these books the
conversation seems natural and illustrations
or photographs show modern equipment.
Sometimes an author tries to include too
much information. For example, in Perhaps
I'll Be a Farmer, Bethers includes some excel-
lent information on soil and the nitrogen
cycle, but other sections dealing with types
of farms, breeds of cattle and horses, are
rather vague. Wall uses photographs by
Towsley to good advantage in Gifts from the
Grove. Such large, clear photographs seem to
convey life and meaning to the work por-
trayed. Food processing is also shown in ex-
cellent photographs in The Frozen Foods
Plant by Allee. Although there are many ma-
chines and conveyors, the reader still recog-
nizes the important work of human hands
and eyes.
CLOTHING
The Norlings have written and in addition il-
lustrated an informative series in which a boy
and his dog, Pogo, learn about many indus-
Children Seek Inf ormation about People and Places - 161
tries. Pogo’s Fishing Trip and Pogo's Mining by Hastings, for example, shows only the
Trip are examples. One of the best of the clothing and toy departments. Children are
series is Pogo's Lamb which tells how sheep familiar with these sections, but need to real-
are raised and wool is made into clothing. ize the wide variety of goods sold throughout
The teacher will want to call attention to such a store. In Let's Go to a Supermarket ,
the end papers which summarize the process Goodspeed gives some additional informa-
in a flow chart. Similarly, in The Story of tion about storage and preservation of foods.
Your Coat , Hollos tells the story of wool but more details are included in The First
from sheep to coat. Machines are clearly pic- Book of Supermarkets by Bendick. Primary
tured and unions are also discussed. The his- children could get information from the il-
tory of clothing is presented in cartoon-type lustrations in each,
drawings in Nothing to Wear but Clothes
by Jupo. This book could well serve as a other industries
basis for a mural. The wise use of space and Classroom teachers need to be aware of the
distinct illustrations of machines are special varied books about unusual industries to
assets of Nighbert’s The True Book of Cloth. help answer questions that arise, and to en-
Here, too, is information about synthetic rich social studies activities. The Lollypop
fibers which can be understood by the second- Factory not only describes the making of
or third -graders studying clothing. “suckers,” but Elting’s text and Bendick ’s
In selecting books for use in social studies, large illustrations explain the way pencils,
the extensiveness of the information included crackers, bottles, and pop are made. Another
should be considered. The Department Store example of a book about an important, but
Literature helps children as they study local problems. Columbus, Ohio, public schools.
162 - Knowing Children's Literature
seldom studied industry, is Riedman’s Let's
Take a Trip to a Cement Plant. Excellent
photographs and interesting text explain
early uses of stone “glue” as well as modern
processes.
Several books about oil would enrich the
experience of the children who found only
two paragraphs about this fascinating indus-
try in their textbook. Buehr gives the his-
tory of the industry and provides excellent
diagrams in Oil, Today's Black Magic . Olds
portrays the excitement attending the cap-
ping of the first wells at Titusville and Spin-
dletop through dramatic watercolors in Deep
Treasure. The teacher could read aloud parts
of Oilfield Boy by Mauzey and help the chil-
dren appreciate the beautiful charcoal draw-
ings. Children in the middle grades will en-
joy reading the special language of oil men
in the Norlings' Pogo's Oil Well.
TRANSPORTATION
Science and social studies merge as children
seek information about man’s social processes
of providing food, clothing, and shelter,
transporting goods, and communicating his
ideas. This is particularly true in the areas
of transportation and communication. In
What Does a Jet Pilot Do? by Wells, the
reader learns about pressure suits, jet en-
gines, and the many workers who help the
jet pilot fly. This interdependence of work-
ers is indeed a social concept. Cooke includes
social problems in How Superhighways Are
Made. The necessity for planning in terms of
a traffic survey, the laws involved in buying
the land, and the interdependence of the
workers are factors included in this well-
written book. The machinery used for road
building is fascinatingl The reader feels the
power of the big machines pictured on the
double page spreads in Zaffo’s large book,
Building Your Super Highways. Conversa-
tion among the workers building Route 199
in New York enlivens the story in Construc-
tion Ahead by Billings. Children who are es-
pecially interested will be challenged to in-
terpret the blueprints of the road bed. In
Who Built the Dam? and Who Built the
Bridge? Bate personifies the machinery, the
river, the dam. This technique provides ac-
tion and drama:
“I'm trapped,” roared the river. It swirled
around and around. It flowed over the little coffer-
dam and smashed against the big dam!
“I'll grow bigger and bigger,” it boasted. “I’ll
reach the top of this dam and tear it down.” 7
Bradley related the work of engineers in
building the pyramids, the Hanging Gar-
dens of Babylon, and lighthouses. In Engi-
neers Did It! he tells the exciting story of
building the Brooklyn Bridge. Attitudes and
values are important in this account of an
amazing feat of engineering.
Many of the books about trains, trucks,
and boats can be used by all ages. The teacher
can point out to the older children the value
of the picture books. At first glance. Freight
Trains by Bunce would appear to be a simple
picture book. Cars at the top of the long
pages appear to be connected so the reader
feels the train is rolling by as he turns the
pages. The text includes many special ab-
breviations and phrases such as “L.C.L.,”
meaning less than carload, “consist,” indi-
cating a long line of cars, “solid” train, mean-
ing all cars are bound for the same destina-
tion. The Big Book of Cars by Sutton and
The Big Book of Real Trucks by Zaffo could
be enjoyed by children in both primary and
upper grades. The description of a trucker’s
day is especially interesting. Younger chil-
dren will enjoy the fine drawings of the many
types of trucks, and older boys will be in-
trigued by such truck talk as “Java Patrol”
and “reefers.” Interesting, detailed informa-
tion is included in the text of Lent’s Here
Come the Trucks, but the illustrations are
not as clear or helpful as other books avail-
able. In Trucks and Trucking Buehr shows
the influence of the development of truck-
ing upon the food we eat. Middle-grade boys
will enjoy the slang used in describing the
driver’s life. Trucks for special purposes such
as post offices, animal hospitals, and beauty
7 Norman Bate, Who Built the Damt New York:
Charles Scribner’s Sons, 1958. Unpaged.
Children Seek Information about People and Places - 163
shops are included in The First Book of
Trucks , by Tatham. When the teacher is fa-
miliar with such books, he can plan ways of
extending textbook information with this
rich content.
The Little Train by Lenski and A Trip
on a Train by Greene would appeal mainly
to younger children. One wishes the author
had described the noise of the train and the
difficulty of walking on a train. Burchard's
illustrations in The Carol Moran really
make the reader feel he is looking directly
up at a huge ocean liner from the bow of
the tug boat. The dignity of work and the
satisfaction of a routine job well done are
sensed as the grandfather makes his last trip
before his retirement.
The delays and the problems of early rail-
road building recede as excitement mounts
in Nathan’s account of The Building of the
First Transcontinental Railroad. The pacing
of the writing adds to the feeling that the
reader is actually operating the telegraph
key as the golden spike is ready to finally
join the two sections. Telegraph wires are
attached to the sledge hammers so the na-
tion can hear. The reader “listens” intently
as the operator taps out the messages:
“All ready now,” went out over the wire. “The
last spike will soon be driven. The signal will be
three dots for the commencement of the blow.”
An instant later, the silver hammers came down.
“Done!”
The words flashed out. The last spike, the
golden spike, had been driven home.
The country was united from coast to coast by
an unbroken band of iron rails . 8
Wouldn’t this scene stimulate dramatization
of this event in the history of transportation?
COMMUNICATION
The community helpers who serve society
through communication are too frequently
omitted in studies of the community. Com-
munication is one of our major industries
and should also be included in units about
8 Adele Nathan, The Building of the First Trans-
continental Railroad. New York: Random House,
1950. p. 161.
the city. Children should understand, for ex-
ample, that production of television pro-
grams depends upon many workers. This
concept is clearly demonstrated in The First
Book of Television by Stoddard and is also
developed in Linda Goes to the TV Studio
by Dudley. Despite the impact of television,
newspapers and magazines are important in
communication. Authors now familiar in this
area of children’s literature, the Norlings
and Henry Lent, have written informative,
interesting books about newspapers. The ac-
tion in Lent’s From Trees to Paper adds
much to its interest. Talks with the woods
manager, bush pilot, and others who help
the lumberjack are natural and informa-
tive. Lent describes a newspaper through
good close-up photographs and clear text.
As the reader accompanies the reporter in
Lent’s I Work on a Newspaper, he also learns
of the community value of an alert press.
A few books describe the function of the
library in a community. Let's Go to the Li-
brary by Buchheimer gives little information
beyond that which children already possess.
How much better to go and visit a library!
Here Comes the Bookmobile by Gringhuis
will extend understanding of another com-
munity service.
CONSERVATION
Conservation, too, blends the concepts of
science and social studies. Another of Ger-
trude Wall's excellent books with outstand-
ing photography by Towsley is Gifts from
the Forest. One can almost hear the crack
of the tree as it falls. Modern tree farming
described in this book illustrates the concept
of wise use of resources. Blough’s Lookout
for the Forest provides action and informa-
tion about ways of preventing and controlling
forest fires. The relationship to soil erosion is
depicted in this story pleasingly illustrated
with greens, yellows, and browns. LaFarge
has written a very interesting story of an ir-
rigation ditch in New Mexico, The Mother
Ditch. After tracing the early plans for irri-
gation, the author shows how the ditch helps
the Romero family. The need for conserva-
164 - Knowing Children's Literature
tion of trees is emphasized by Webber in
Thanks to Trees: The Story of Their Use
and Conservation.
MONEY
Children are interested in money and sys-
tems of exchange. Let's Go to a Bank by
Sootin provides many details about deposits,
mortgages, and the work of the Federal Re-
serve Bank. Pictures of the coin machine and
vault are helpful. This would be a good
book to use before or following a trip to the
local bank. Following the pattern of his
series, Buehr writes of early forms of barter
and money in Treasure, The Story of Money
and Its Safeguarding. His interesting idea is
that business and banking records are truly
treasures of today. Older pupils will find
Wall Street, The Story of the Stock Exchange
provides a good understanding of complex
processes. Using an example of a lemonade
stand. Sterling makes the idea of stocks,
bonds, interest, and dividends meaningful
to boys and girls. Economic concepts are also
developed in books about industries, trans-
portation, and communication.
GOVERNMENT
In all ages, in primitive cultures and in mod-
ern, complex societies men have established
ways of governing themselves. The biogra-
phies of leaders who helped found the sys-
tem for the United States will help children
appreciate the guarantees of freedom and the
machinery of government. These will be dis-
cussed in Chapter Six. Several books pro-
vide information about governmental agen-
cies and processes. The very simple form of
government by town meeting is described in
Turner’s delightfully illustrated book, Town
Meeting Means Me. The duties of each
elected or appointed leader are clearly de-
fined. In Let's Go to a City Hall Wolfe tells
children about council meetings, the work
of a city manager, and various departments
of municipal government. This would be an
excellent book for children to use as they
compare the general description with their
own first-hand exploration of their commu-
nity government. They might write “Our
visit to City Hall” in similar fashion.
You and the Constitution of the United
States by Witty and Kohler presents a re-
written Constitution with explanatory car-
toons. The complete text of the document
is also included. The comparison of Amer-
ica to a train seems somewhat confusing to
middle-grade children. A vicarious trip to
the seat of our federal government is pro-
vided in Holisher’s Capitol Hill. This book
of photographs includes the workers behind
the scenes. Let's Go to the White House and
Let's Go to the Capitol by Rosenfeld also
show details of government buildings. One
view in the latter book gives the reader the
feeling he is on an upper balcony looking
down into the Great Rotunda. Unless a chiJd
was going to Washington or had recently
been there, the teacher may find little inter-
est in so many details of buildings. T he First
Book of the Supreme Court and The First
Book of Congress by Coy present words from
a special vocabulary in heavy print. At the
end of the book about Congress, there is a
list of words, “Congress Talk and What It
Means.” Suggestions for pupils to know their
congressmen are practical. Also, the book
about the Supreme Court opens with a case
children could understand. These two books
contribute much to the middle- and upper-
grade child’s understanding of the machinery
of government.
The teacher of older children also needs
material to help them understand other
forms of government. A chapter, “What is
Communism?” in Wagner and Green’s Put
Democracy to Work makes clear the major
points of the Communist Manifesto. The
early communal living of the Pilgrims and
the Amana colonies in Iowa are contrasted
with this modern system. Rights and free-
doms guaranteed by the constitution are il-
lustrated in Fisher’s interesting drawings for
You and Democracy by Gordon. The word
You is consistently printed in upper case,
suggesting the responsibilities of children
who will become tomorrow’s leaders.
Many books about the armed services and
Children Seek Information about People and Places - 165
the FBI interest older children. The work of
federal investigators is explained by Bon-
ner’s The Real Book About Crime Detec-
tion . The idea that criminals are not brave
is developed in several of these books. In The
Story of the Secret Service Kuhn includes the
story of a school boy who wrote a threaten-
ing letter to the president. The methods used
to locate the sender are of interest, but also,
the danger involved in such action is made
clear. The code of the service is emphasized
in Our FBI, by Floherty. Books about the
armed forces interest upper-grade boys, but
the teacher needs to be aware of treatment
of this informational material. The horror
and grimness of war seems overemphasized
in Hunt’s The Story of the U. S. Marines:
A grenade struck him in the stomach and ex-
ploded, but not before he had emptied his “burp”
gun into the face of one of the marines. 9
In The Real Book About Our Armed Forces
raids and battles are described by Knight;
men die and are injured, but the young
reader is spared the shattering realism of
war. If movies and televison are supple-
mented with literature in which children
continually live with violence, does this not
encourage an acceptance of brutality and
suggest to young minds that it is the only
way in which man wins glory?
Other government services include those
community helpers, the policemen and the
firemen, so frequently a part of the second-
grade social-studies curriculum. Examples of
publishers series indicate some of the factors
the teacher should consider. The Heath
series. It's Fun to Find Out, are film-story
books related to Encyclopaedia Britannica
films. Captions in manuscript writing pro-
vide easy reading. Pictures in The Fireman
seem somewhat blurred, but the child learns
of the fireman’s job. The Whitman series by
Barr includes Policeman Paul, Mr, Mailman,
and Fireman Fred, It seems there is really
little more information here than the chil-
dren already have obtained through experi-
* George P. Hunt, The Story of the U. S. Marines.
New York: Random House, 1951. p. 9.
ence. The contrived scenes in which the po-
liceman helps at a candy factory fire and
catches a robber at a toy factory are prob-
ably meant to relate to children’s interests.
However, when children seek information,
these contrived incidents get in the way. The
teacher will want to consider books in terms
of extension of information. Through the
clear photographs in Colby’s Smoke Eaters,
the child can learn about equipment and
tools used by firemen. The text is more diffi-
cult, but will be of interest to those children
in primary grades really seeking “meat” in
their reading diet. One of the Putnam’s Let's
Take a Trip series, Let's Take a Trip to A
Fire House gives interesting information.
Buchheimer includes a helpful glossary in
this book. lohnny Wants to Be a Policeman
by Granberg is an example of a book filled
with facts about the different tasks of the
policeman. Here is a book which could well
be used with older children reading at pri-
mary level.
Man has steadily moved toward larger
units of organization for dealing with prob-
lems of living together. Understanding the
structure of the United Nations can support
understandings of people living on this
planet. Attitudes toward the UN were em-
phasized in one of the early books by Fisher,
You and the United Nations. Cartoons and
captions in this book oversimplified the large
concepts. In addition, little information was
included. The story of the development of
the United Nations is told in Galt’s How the
United Nations Works. Suggestions for writ-
ing letters to the Secretary-General make it
useful for groups seeking recent informa-
tion. Based upon a filmstrip of the same title,
A Garden We Planted Together, was written
by the UN Department of Public Informa-
tion. Children from many lands write out a
plan for their garden. As problems arise,
they look at the rule book, or charter, to find
ways of solving the problem. Munro Leaf’s
inimitable cartoons enliven Three Promises
to You. All age groups can enjoy the pictorial
representation of those three promises; to try
not to have war, to treat all nations fairly,
166 - Knowing Children* s Literature
and to help each other. Young readers could
take a tour through the United Nations
building in Cochrane’s Let's Go to the United
Nations Headquarters. They would learn
much about the architectural details of the
building but little of work actually accom-
plished there.
The work of UNICEF is presented in a
very clear and interesting way as an Amer-
ican boy travels in Yates’ Rainboiu Round
the World. He learns about ways of combat-
ing ignorance, poverty, and illness. There are
adventures, too, as when a machete whizzes
through the jungle over his head. John is
saved from a sloth and makes another friend
in Nicaragua. Each chapter is a complete in-
cident and could be read during the UNICEF
fund drive in which children often partici-
pate. Such a book would make the Halloween
tricks or treats for UNICEF truly mean-
ingful.
Older boys and girls would gain much from
reading and discussing A Fair World for All.
Dorothy Canfield Fisher explains each ar-
ticle of the Declaration of Human Rights
through an everyday situation. Article 10 re-
fers to “full equality” and “fair and public
hearing by an independent and impartial
tribunal.” Such phrases remain “gobble-de-
gook” unless dramatized in meaningful sit-
uations. The author describes a situation in
which a big boy practicing with a ball inad-
vertently hits a small child who suddenly
raced in front of him. The necessity for col-
lecting evidence and presenting it to some-
one who was not emotionally involved is
made clear. This book could well be used in
studying great documents that are part of
our heritage.
OTHER SOCIAL PROCESSES
Through a planned program of social edu-
cation, boys and girls gain understanding of
the additional social processes involved in
religion, recreation, and esthetic apprecia-
tion. Books about sports, hobbies and crafts,
music, art, and religion will be described in
Chapter 10. Chapter 7 discusses books which
will help children understand themselves
and others. Concepts of man’s social proc-
esses are developed in almost every type of
literature. Homes are built in historical fic-
tion, government is often described in bi-
ography, other times and places take on
meaning through stories. As books are dis-
cussed, the teacher will seize opportunities
to utilize these concepts in social studies
classes.
People in the United States
Children learn about the United States as
they gain understanding of man’s social proc-
esses in the home, community, and region.
Numerous factual trade books, regional fic-
tion, and stories of modern life contribute
to development of generalizations about peo-
ple in this country. Literature related to the
historical heritage is reviewed in Chapter 6.
When children identify problems and seek
answers to questions about the United States,
its regions, or cities they need a wide variety
of books. The following examples of series,
factual, and fictional books illustrate types
of literature which are available. Lois Lenski
set forth the purpose of this literature in a
foreword to the Roundabout America series:
Come, let us look at the ways of life in our
country. Let us go into the out-of-the-way corners,
up on the hills and down in the valleys, into city
streets and \illage homes. Let us see and get to
know the people. 10
SERIES BOOKS
Both geography and history are included in
the series of regional books illustrated with
beautiful lithographs by DeWitt. The Story
of New England begins with the Revolution
and continues with the development of the
whaling industry, fishing, maple sugar, and
stone quarries. The relationship of soil,
water, and climate to the type of crops raised
is shown in McClintock’s interesting text.
In another example, The Story of Florida,
DeWitt has illustrated a book about one
state. His pictures, which contrast the bril-
liant color and movement of the hurricane
1H Lois Lenski, We Live in the City. Philadelphia:
J. B. Lippi ncott Co., 1954. Foreword.
Children Seek Information about People and Places - 167
with the calm, green quiet of the Everglades,
help children realize the differences in
weather and its effect upon man’s activities.
Although now an older series, these books
are still very useful in teaching about the
United States.
The Picture Book series of various states,
published by Whitman and authored by Bai-
ley, includes historical facts as well as infor-
mation about cities, crops, and industries.
The use of natural resources is stressed in
this series which is written in a rather terse,
dry style. Frequently teachers ask children to
make reports about various states. If a child
uses only these books, he is limited to facts
about products and names of cities, but gains
little understanding of people.
Putnams regional series, Men at Work,
Covers from the DeWitt series of regional books. Harper.
168 - Knowing Children's Literature
is written in a very interesting manner. The
title, “How Many Cans Can a Canner Can?”
in Men at Work on the West Coast would
intrigue children. Lent portrays facts graph-
ically, as in (< Salad Bowl, U.S.A.”:
If you had a giant market basket and wanted to
fill it with a year's supply of vegetables, fruit, and
berries grown in these three states, here are some
of the things that would go into it
For you'd start out by spending 26 million dol-
lars for 17,000 carloads of firm, sweet melons and
cantaloupes grown in California. . . . n
Unusual industries such as an ant farm
company are also described. Italics are used
generously to give emphasis to words and to
call attention to new words. The teacher
should point this out to the children by writ-
ing an example on the chalkboard and direct-
ing attention to the italics. “If this sample
spoon looks as beautiful as it did in the draw-
ing, the designer gives the drawing to an-
other man who is known as a modeler. In-
stead of drawing the design of the spoon, he
models it in wax.” 12 The reader wishes more
illustrations or photographs could have been
included to aid in visualizing some of the
manufacturing processes described in this
fine series.
Lenski's stories in the Roundabout Amer-
ica series serve well the purpose of getting to
know people. In We Live in the City, she in-
cludes stories titled “Newsboy Mike,” “Pent-
house Girl,” and “Shoeshine Boy.” In these
stories, there is no pity or envy — just recog-
nition of different ways of living. Pictures
show a crowded tenement and words convey
to rural children the noise of the city:
Children were playing. Babies in buggies were
crying. Hanging street signs flapped in the wind.
Trains on the Grove Street El roared by over-
head. A radio in the fish store played loud music.
Women leaned out of windows above. They
called to children in the street. 13
11 Henry B. Lent, Men At Work on the West Coast.
New York: G. P. Putnam’s Sons, 1959. p. 89.
“Henry B. Lent, Men at Work in New England.
New York: G. P. Putnam’s Sons, 1956. p. 75.
“Lenski, op cit. t p. 99.
In We Live By the River, Lenski introduces
boys and girls to families who live near the
Louisiana locks of the Mississippi, on an
island between Arkansas and Tennessee, and
on a bank of the Ohio River between Illinois
and Kentucky. Another of the series, Little
Sioux Girl describes reservation life of 1950.
The mingling of old and new, and the need
for better schools and more adequate medical
care is made clear in this story of an Indian
girl who faced prejudice, yet found pride in
her heritage.
All Around the Land by Saxon is a collec-
tion of stories about children in unusual com-
munities in the United States. The reader
learns of Vermont maple sugar, tulip time in
Holland, Michigan, a cheese factory in Wis-
consin, and a Portuguese fishing colony in
California. The attempt to build understand-
ing of other cultures is not quite realized be-
cause the characters seem unreal, the endings
too pat.
New England by Coffin, The Northeast
and The Midwest by Havighurst, are three of
the titles in the Fideler Company Life in
America series. Excellent photographs show
people at work on farms, in mines and in fac-
tories. Picture maps show products and activi-
ties in each state.
Garden City books publish a series under
the title, “The Story of .” McCracken’s
The Story of Alaska provides a good history
of the forty-ninth state. The Story of Illinois
by Hansen emphasizes history more than cur-
rent activities in the state. The sections on
Lincoln contain material which has been bet-
ter written in other books. Maps are needed
for these books.
Three books illustrate the response to
needed information about the newest states,
Alaska and Hawaii. In Alaska, the Forty-
Ninth State Lindquist describes changes in
recent years. Life on the homestead, bush
pilots, the sea otter are among the interest-
ing topics in this well-written book. Bauer’s
beautiful book, Hawaii, the Aloha State, is
profusely illustrated with excellent photo-
graphs. The history of the islands precedes
a descriptive journey to each island. A pro-
Children Seek Information about People and Places - 169
nouncing vocabulary will be very useful.
Children will enjoy reading about the holi-
days and festivals. Based on a true story of
the 1926 contest for a design of the Alaskan
flag, Benny's Flag by Krasilovsky tells how
an Indian orphan used the blue of the forget-
me-not, the North Star for position, and the
Big Dipper for strength. The illustrations give
very good information about the country.
City life is contrasted with a rural area in
City Boy, Country Boy by Schlein. Unfortu-
nately, we get no impression of work being
done in the country, while people in the city
are very busy. Another book, Tensen’s Come
to the City, describes such helpers as the li-
brarian, zookeeper, mailman, and bus driver.
The primary child will enjoy the riddles at
the end of the book and may be stimulated
to write some of his own. The sociological
zones of a city are explained by the Peatties
in The City. The idea that a city provides
more opportunities to choose work and play
is emphasized here.
REGIONAL FICTION
When an individual experiences life only
in a particular city, in a suburb, on a farm,
or in one region, it is difficult to envision the
problems, the joys, or the needs of those who
have different backgrounds. Too frequently,
children study the United States, but learn
only about the geographic features, the re-
sources and industries of a state or region.
The informational books reviewed above
should be supplemented by fiction which can
enrich the understanding of our land and its
people. Additional books to help children
understand people of different racial and re-
ligious groups are reviewed in Chapter 7.
Mountain regions have isolated groups of
Americans. As these people migrate to cities
their background needs to be understood.
Although he describes a somewhat earlier
period, Jesse Stuart captures some of the feel-
ing of mountain life in his story of an or-
phan, The Beatinest Boy . Eking out a living
through farming and hunting is arduous
work. A wonderful relationship exists be-
tween the boy and his grandmother. Chil-
dren should be guided in appreciating the
flavor of the colloquial language in this story.
Can the modem suburban child under-
stand that some children might not have
shoes? Can he identify with the children in
Down, Down the Mountain? We do not
know, but this story by Credle affords an op-
portunity to understand the children of a
mountain region. Similar to folk tales, right-
eousness is rewarded when the children's re-
maining turnip receives a prize which can
be used to buy shoes. There is another les-
son here in economics. Would five dollars
today buy two pairs of shoes as in this story?
Life among oyster farmers along the south-
ern coast is portrayed by Baldwin in The
Hermit of Crab Island. Basically, this is the
story of a lonely boy who tries to find friends
in town. Developmental tasks of pre-teens are
illustrated clearly as the boy gains skill in
handling the boat, joins the men in drinking
coffee, and bravely goes to find the old hermit
during a hurricane.
Sugar Bush by Dana is another book which
gives information about a special industry,
the production of maple sugar. When the
Kolochecks move to Vermont they are
warmly accepted by the neighbors on Meet-
ing House Hill. Is the reticence of Vermont
folk, their slowness in accepting newcomers,
also a stereotype which is overcome in this
book? The community project of improving
the old meeting house reflects a cooperative
spirit. The warmth of the Allans' friendship
toward their Polish neighbors radiates as the
families gather around the old iron stove
and share the problems of making sugar.
The sights and smells of a crowded New
York tenement are re-created in Lewiton's
story of Rachel. Rachel and Herman contin-
ues the story as the family moves “uptown."
Adjustment to another neighborhood is made
easier by the warm family relationships. Al-
though these children grew up twenty years
ago, there is a good description of crowded
life in the city.
The best-known author of regional stories
for children is Lois Lenski. This author cre-
ates stories by going to an area and living
170 - Knowing Children’s Literature
with the people. As she talks with adults and
children, she gathers anecdotes which can be
drawn into a book. Strawberry Girl, Corn
Farm Boy, Cotton in My Sack are some of
her titles. Texas Tomboy is about a young
girl who wants to become a ranchwoman.
Riding over the plains with her father,
“Charlie Boy” learns the lore of ranching.
Strong and fearless, her imagination and en-
ergy sometimes cause problems. Charlie Boy
is often thoughtless, sometimes cruel, and
frequently disobedient. The child who reads
this book learns about problems of ranch life;
he also gains insight into the conflicting de-
mands of society and the individual, as a lit-
tle girl rebels against her expected sex role.
In Prairie School Lenski has written a mod-
ern story of prairie life. The trials of life on
a snowbound prairie of North Dakota are
arduous. Miss Lenski realistically portrays
the snowbound days in the school, the dra-
matic episode when the teacher takes Dolores
through the storm for an appendectomy, and
the hay drop by helicoper to save the cattle.
These books are distinctive additions to the
literature for children. Using the slang and
colloquialisms of the local region, Lenski
shows the richness of language in its diverse
forms. Parts of these books should be read
aloud to motivate children’s interest and to
explain the author’s purpose in writing as
the people actually speak.
People in Other Lands
In ever-widening circles the child expands
his interest in people beyond his immediate
environment. First-hand contacts with peo-
ple of mother lands will contribute much to
his understanding and to the development
of favorable attitudes. Books can help boys
An interesting display may initiate a study of other lands. Arranged by Barbara Fried-
berg, Ohio State University.
Children Seek Information about People and Places - 171
and girls project themselves into other cul-
tures and visualize other lands. Books in-
tended primarily to present facts and books
of fiction are included in the literature to
help children understand people in other
lands.
ALL MEN ARE BROTHERS
The idea expressed in Robert Louis Steven-
son's poem emphasizes differences rather than
likenesses among people. Experiences planned
for elementary school children should miti-
gate against development of this attitude of
superiority:
Little Indian, Sioux or Crow
Little Frosty Eskimo
Little Turk or Japanese
Oh! don’t you wish that you were me?
You have curious things to eat,
I am fed on proper meat;
You must dwell beyond the foam
But I am safe and live at home . 14
Children should understand there are differ-
ences in ways of eating, working, playing, and
living together, but one is no more “proper”
than another. Children’s literature can as-
sist in development of the concept of the
brotherhood of man.
Books about the development of early man
may serve to emphasize common needs. In
The Stoy 7 of People, May Edel shows that
all ways are human. She includes much in-
formation about Eskimo life as she develops
two major ideas:
.... the way man gets his living sets the stage
for much of his social living.
The size of settlements, the nearness of neigh-
bors, may all depend on how much food is avail-
able and how well men handle the task of getting
it ! 18
An unusual bibliography for children is in-
cluded in this well-written book.
Eva Knox Evans has contributed several
14 Robert Louis Stevenson, “Foreign Children” from
A Child's Garden of Verses. New York: Charles Scrib-
ner’s Sons, 1905. p. 33.
“May Edel, The Story of People. Boston: Little
Brown, & Company, 1953. pp. 64, 68.
books which develop understanding of Hu-
man behavior in different cultures. In Peo-
ple Are Important she writes:
Now, sometimes we feel that the people who
look and act and talk different aren’t as impor-
tant as we are. Some of us may even feel that
what happens to them doesn’t matter at all. . . .
almost all of us are frightened of people we don’t
understand . 18
This author discusses differences in talk, man-
ners, and food, yet asks, “Aren’t we lucky to
be people?” Similarly, Evans writes of like-
nesses of humans in All About Us. Facts about
blood and ability to learn are included.
Amusing but clearly pointed explanations of
differences in customs, such as fighting, are
presented.
Margaret Mead has written an interesting
book about anthropology for young readers.
People and Places. This beautifully bound
and printed book emphasizes the theme,
“Man As a Being.” The well-known scien-
tist tells how an anthropologist works. She
describes human behavior in four cultures:
the Eskimos, Ashanti of West Africa, plains
Indians, and the Balinese. An excellent bib-
liography is included. The Weisgard illus-
trations contribute beauty to the book by
Ames and Wyler, The First People of the
World. The development of one-celled life,
prehistoric creatures, the ape family, and
early man is clearly presented. In using this
book the teacher will need to be aware of
community beliefs and should stress the pres-
entation as theory.
An adult book of beautiful photographs.
The Family of Man, is available in a paper-
back edition which would be suitable for ele-
mentary schools. Through these outstanding
photographs Steichen shows the common ele-
ments of love, laughter, sorrow, work, and
play. For children, the Silver Burdett series
of books titled Fun Around the World,
Homes Around the World, and Schools
Around the World presents similarities in
human life.
“Eva Knox Evans, People Are Important. New
York: Capitol Publishing Company, 1957. p. 5, 8.
172 - Knowing Children’s Literature
Pride in shoes is the same in
any language. The sensitive
story of a little Japanese girl
and her red clogs gives infor-
mation and illustrates good fam-
ily relationships. From A Pair
of Red Clogs by Masako Mat-
suno. Illustrated by Kazue Miza-
mura. World, 1960.
SERIES BOORS ABOUT OTHER LANDS
Beginning with the Rollo series and the Lucy
Fitch Perkins* “Twin** books, numerous se-
ries books about other lands have appeared
on the bookshelves. In some publisher’s se-
ries, the same author writes all of the books;
in other series, only the title and format are
similar. The teacher will need to become fa-
miliar with several of the books in each series,
and to evaluate their usefulness in terms of
the needs of the class.
The foreword of one of the Young Trav-
eler series reminds the reader of the impor-
tance of travel literature;
There was a time when only the rich could
travel, and only the explorers could go to distant
places. But now, the hope of travel is within the
reach of everyone, and the far places are distant
from us, not by the space of months of travel
time, but the space of a handful of hours. Even if
you yourself are a stay-at-home, you must be pre-
pared to meet people from far places, for with
travel as easy of accomplishment as it is, who
knows what stranger may come aknocking at your
door, from France or Spain or Trinidad. How
will you greet him if you know no more of the
world than your own front yard? 17
The Young Traveler series was an English se
ries “Americanized” for children in this coun
try. Published by Dutton, these books follow
the theme of a boy and girl visiting relatives
or friends in another country. The hosts anc
hostesses take the young Americans to places
of interest and share their festivals and holi
day fun at home. Photographs are included
but are not placed near explanatory text. A:
the American travelers learn the language o
their hosts, the reader will also try to sa^
the phrases of welcome, thanks, and name
17 Frances Clarke Sayers, editor, American edition
George L. Proctor, The Young Traveler in Sweden
New York: E. P. Dutton & Co., Inc., 1953. p. 5.
Children Seek Inf ormation about People and Places - 173
of meals, holidays, and so on. In some of the
books of the series, there is humor and some
excitement in getting lost while exploring
cities alone. Always there is interesting,
youthful commentary upon the places and
people the travelers see.
Caldwell is the author of several books in
the Let's Visit series published by John Day.
There is less attention to geography in this
series, but the presentation of current prob-
lems and changing social patterns is clear
and interesting. For example, in Let's Visit
the Middle East, the problems of the Suez
canal, the Gaza strip, and the Arab-Israel
conflict are presented without bias, in terms
meaningful to sixth graders. The changes in
Africa, the contrasts of the primitive and the
modern cities are clearly shown in photo-
graphs and text in Let’s Visit Middle Africa.
There is greater emphasis upon people and
their customs in the Getting to Know series
published by Coward-McCann. Different au-
thors have prepared the books in this series.
The middle-grade reader will identify with
children in the other lands as he reads, “Both
boys and girls in Turkey love American
movies, especially Westerns. You will see
them reading comics, too .” 18 Schools, food,
homes, games, holidays, and music are in-
cluded as well as industries, resources, and
major cities. One can almost feel the “. . .
bright sun glowing on dirt streets. . . .” 19 as
he learns to shake hands in the Liberian fash-
ion. The reader wishes the slight sketches
gave more detail to implement the crisp style
of writing which is conversational but not
didactic.
In the Around the World Today series
published by Watts, the outstanding photog-
raphy provides information about the life of
one child. In Jan of Holland by Buckley, the
fishing school is fascinating. These Dutch boys
learn to face problems by solving them vi-
cariously in the classroom. There is some plot
development as Jan demonstrates courage in
18 Fanny Davis, Getting to Know Turkey. New
York: Coward-McCann, 1957. p. 39.
19 Albert Craz, Getting to Know Liberia. New York:
Coward-McCann, Inc., 1958. p. 28.
deciding to become a farmer despite the fam-
ily tradition of fishing. Such real life stories
not only give facts; they help build under-
standing of others.
An older series published by the Fideler
Company is the Let's Read About series. The
strength of this series lies in its excellent
photographs included on almost every page.
Many are full-page or half-page photos which
contrast the old and the new ways of living.
In Raman’s book about India, the photo-
graphic portraits of different people are out-
standing. Some of the books. Let's Read
About Hawaiian Islands by Fergusson and
Let's Read About South America by Goetz,
for example, have an adequate glossary and
index; however, maps are needed to help the
reader relate photographs to the total area.
Holiday published a series of small books
about other countries in the late forties and
early fifties. These are mainly historical ac-
counts. The book, Germany, by Berner em-
phasizes the continuing changes of govern-
ments and the attempts at unification. The
delicate sketches convey little information.
The author of the book, France, avoids the
danger of stereotypes: “To say, for instance,
‘The French are an excitable race' becomes
but a silly generalization, once we live among
the French and find among them so much
rule of reason, so much logic, moderation,
symmetry, and order. There are many kinds
of Frenchmen, just as there are many kinds
of Americans .” 20
The McKay Picture Story series presents
information in an interesting style. Differ-
ent authors and illustrators describe daily
life in countries, as in Picture Story of Hol-
land by Dejong, or of regions, as in Picture
Story of the Middle East by Nevil. Books in
the series vary considerably. For example,
there is no glossary or index in Picture Story
of Noway by O’Neill, while the more recent
Picture Story of the Middle East has a good
glossary and map. In this series, there is more
information about the daily life of the peo-
ple than the industries. In the Picture Story
20 Robert Davis, France. New York: Holiday House,
1947. p. 19.
174 - Knowing Children's Literature
of Norway, some information is not ex-
plained adequately. In the description of the
whaling industry, the fact that insulin is ob-
tained from the pancreas of the whale is in-
cluded. How is insulin used? What is its
value? The reader receives little meaning
from this bit of information unless he is chal-
lenged to look in other references. Again,
there is a comment about cellulose manufac-
turing plants, but the reader does not learn
how cellulose is used. Unrelated facts need
clarification.
A series based upon photographs and told
in the first person is the My Village series
by the Gidals (Pantheon) . Almost all of the
photographs include people. The pictures are
beautifully composed, in sharp focus, and il-
lustrate aspects of village life. In My Village
in India, Dhan, son of a farmer, describes
daily activities such as getting water, making
ghee (boiled butter) , and going to school.
The health lesson exemplifies the importance
of teaching a backward people sanitation and
health. In My Village in Austria, the photo-
graphs are especially warm and friendly. The
family humor adds interest to the descrip-
tion of life on the farm. To emphasize the
geographic factors, the teacher will need to
discuss the pictures with the children, relate
these pictures to a map showing mountains
and valleys of the region, and help the chil-
dren compare this region with their own
land. These books do not try to include his-
tory, government, city life, artists, and the
rest. As the title implies, they tell only about
village life; children will enjoy the text and
the photographs as they gain information
about small villages in these lands.
Family life is also emphasized in the Beck-
ley-Cardy series appearing with such titles as
Kish of India, Forests and Fiords, and Tem-
ple Town of Tokyo . There is a thin plot, but
too many contrived scenes are added to in-
clude more information. The Danish chil-
dren in Forests and Fiords seem unreal and
quite “priggish” in such passages as this, fol-
lowing a family trip to Norway:
"You have a new feeling for your own country,"
he said. “We have some ways of doing things that
are a little different from those anywhere else.
There isn’t any right or wrong, but to us the
Danish way seems best."
Lise continued, "There are so many things that
we’ve always taken for granted and that now seem
quite wonderful." 21
Changes from old ways to modern customs
are shown in Temple Town to Tokyo by
Comfort. A Japanese family in a small town
moves to the city where dress, food prepara-
tion, and customs differ. The mother’s shop-
ping tour and her decision to buy a Western
dress and to have a Western hair style will
help children realize the difficulties of ad-
justing to new ways. In Kish of India, Com-
fort has written of the effect of caste and the
importance of its elimination in the social
structure. The meaning of Gandhi’s passive
resistance is applied in the life of the boy who
was tempted to fight at the water well. The
changing relationship of the governing maha-
raja from overlord to representative of the
people in the new government is presented
clearly for the middle-grade reader.
The First Book series also includes books
about other lands. Published by Franklin
Watts, these books use different styles of
writing according to the author. Mears tells
about Japan as she describes the family life
of Ichiro and Toshiko. In the First Book of
India, Hahn describes the life of Arun, a boy
who goes with his farm family to the other
regions of India. Lobsenz gives information
in essay form in The First Book of West Ger-
many. The illustrations in The First Book
of India seem too stark and primitive; they
do not add to the information of the text or
help build concepts. Also, the sketches in
The First Book of West Germany add little
to the text. However, children would enjoy
trying the German words and phrases with
simplified pronunciation guides.
O'Donnell wrote a series of books about
life of children in other lands based upon
Encyclopaedia Britannica Filmstrips. Pub-
lished by Row, Petersen, this series uses a
simple text closely related to the filmstrip.
This series provides some good information,
* Bernadine Bailey, Forests and Fiords. Chicago:
Beckley-Cardy, 1952. p. 133.
Children Seek Information about People and Places - 175
but needs to be revised to present contempo-
rary life.
The Picture Map series written by Quinn
and published by Lippincott, presents maps
of sections of the continent being described.
Small figures represent products of the re-
gion, plants, and animals. The Picture Map
Geography of Africa does not show the mod-
ernization of parts of this country, however.
The rather pedestrian style of writing limits
the interest in the series and the small fig-
ures, as in Picture Map Geography of Can-
ada, are difficult to distinguish.
Another series by Knopf emphasizes the
arts and crafts of various countries. This
series includes Made in Italy by Toor, Made
in Mexico by Ross, Made in Iceland by Gol-
den, Made in India by Spencer, Made in Po-
land by Jarecka. Some of the less well-known
countries and their products are described.
By reading Made in Iceland, the upper-grade
reader could compare the story of pioneer
life in Iceland to that of the United States.
Silver Burdett has presented a series of
books which relate child life in America to
activities of boys and girls in other lands. In
Pets Around the World, Homes Around the
World, and Work Around the World, Jack-
son shows likenesses and differences in activi-
ties of human life through excellent full-page
photographs and easy text. Fun Around the
World by Scarry shows children having fun
in different countries. Ring-around-a-Rosy is
pictured as Greek children and Eskimo chil-
dren play this familiar game. Identity with
others is realized as the reader laughs with
the children wearing funny masks:
And when they laugh they sound like you,
and all children, near and far.
A laugh sounds the same
anywhere in the world.
It’s the magic and happy sound
that goes with having fun! 22
Teachers will find the suggestions for related
activities very helpful in extending concepts
** Patsy Scarry, Fun Around the World. Morristown,
New Jersey: Silver Burdett Company, 1957. p. 88.
of this series titled, The World Children Live
In.
Lippincott’s Portraits of the Nations series
is one of the more recent additions to the lit-
erature in this area. Each book has been writ-
ten by a different author under the title,
“Land and People of . . .** The series includes
Turkey, South Africa, Greece, India, and
Pakistan. Black and white photographs are
placed in a signature in the center of the
book. Thus, all pictures are presented in one
section and are completely separate from
context. In general, the views are formal
scenes of buildings, ports, and fields. Few
close-ups of the people at work or in their
homes are included. Each page is filled; there
is little white space to rest the eye. The
reader takes a walking tour through cities
and provinces, but the hiking is slow because
of the weight of details. The information in
the book on Pakistan by Feldman is authentic,
but a human quality is lacking in the lecture.
Historical backgrounds are emphasized in
most of the books of this series. Many phrases
have not been explained for the child reader.
For example, in Land and People of Ger-
many Wohlrabe and Krusch write, “A papal
bull was issued branding the monk a heretic/*
There is no further explanation about papal
bulls or what it meant to be a heretic. It is
important to help children extend their vo-
cabularies, but the inclusion of too many
difficult words can only prevent further read-
ing by the average child. In writing about
Turkey, Spencer made a number of broad
generalizations about people such as, “Turks
are hospitable, independent-minded, reserved
and unemotional in public (except when
greeting relatives and close friends) . Turkish
honesty toward visitors is outstanding. . . .*' 28
On the other hand, Paton, writing in Land
and People of South Africa, points out his
own bias, “Before I do this [answer questions]
let me remind you that I have a strong point
of view of my own; therefore, you must ex-
amine closely all I am going to say.** 24 These
“William Spencer, Land and People of Turkey.
Philadelphia: J. B. Lippincott, 1958. p. 88.
“Alan Paton, Land and People of South Africa.
Philadelphia: J. B. Lippincott, 1955. p. 129.
176 - Knowing Children’ s Literature
examples indicate the importance of the
teacher’s familiarity with the books provided
for children’s use in social studies.
FACT AND FICTION ABOUT OTHER LANDS
Geographic concepts are developed through
many experiences, map study, use of the
globe, observation of films and filmstrips,
field trips in the local community, and
through reading. Some books present infor-
mation about other countries — the climate,
topography, industries, and generalized de-
scriptions of customs. These are considered
strictly factual books. Many of the series
books and other books designed mainly to
give information do contain a thin plot. Un-
derstanding of lands or regions can be de-
rived through identification with persons who
live in these countries or by vicariously ex-
periencing the sights, sounds, and patterns of
living in a country through the story of real-
istic people who live there.
When the dates o£ titles listed in current
bibliographies are examined, one realizes
many were written ten to twenty years ago.
For example, in a list of books about Latin
America compiled by the Children’s Book
Committee of the Child Study Association of
America, 25 97 of the 146 titles were published
before 1950. Recency of publication is only
one factor to consider in selecting such books.
The early books such as Lucy Fitch Perkins’
“Twins series’’ tended to portray stereotypes
and emphasize differences. The older classics
do not reflect the changes in life in other
countries. Hans Brinker, written in 1865, is
still an exciting story of a race for silver
skates; but the book does not help children
build a picture of life in The Netherlands
today. Heidi is a dramatic story of an un-
wanted child whose gaiety melts the stony
heart ol her uncle. Joanna Spyri’s descrip-
tions of the Alps, the glorious sunsets, the
Bowers, and the wind in the hr trees, make
the setting come alive. Although this book,
too, was written in the nineteenth century,
“Child Study Association, Latin America in Books
for Boys and Girls. Washington, D. C.: Pan American
Union, 1956.
these views, the herds of goats, the mountain
huts may still be seen by visitors to Switzer-
land. Another excellent book, The Good
Master, by Kate Seredy, takes place in Hun-
gary, a land behind today’s Iron Curtain. It
is a wonderfully exciting story; the relation-
ships of Kate to Jancsi and his understanding
father present deep values of living. In some
ways farm life is probably the same, but the
child should recognize that this story took
place over forty years ago. Another classic
about other lands is Young Fu of the Upper
Yangtze by Elizabeth Lewis. Today, little is
known of this communistic nation struggling
for power and industrial development. It is
true there are conflicts as in the days when
Young Fu went to the city as an apprentice
to a coppersmith, but the bound feet have
disappeared and older superstitions have
given way before modern technology. This
book would have value for more mature stu-
dents studying the development of China. In
a more recent book by the same author, T o
Beat a Tiger, poverty and civil strife are still
a part of life in China. Although the groups
are not identified, the teacher will recognize
Nationalists and Communists in this rather
complicated story for very mature elemen-
tary-school children.
Folk tales are often included in lists of
books about other lands. It is true that the
folk literature of a country may enrich the
child’s understanding of its heritage; how-
ever, children should realize that people to-
day do not live as they did in the stories be-
ginning “Once upon a time.’’ Reading The
Jack Tales collected by Chase in the Cum-
berland mountains would hardly help a child
in Italy understand modern America. Sim-
ilarly, Tales of a Chinese Grandmother by
Carpenter would not portray modern China.
It may be wise to pause for a moment to
consider the children’s literature about the
United States which would bring understand-
ing to children in other lands. Lenski’s re-
gional series? Homer Price or Henry Reed,
Inc.? The Moffats? It is quickly realized that
one book can present only one small aspect of
life in this vast country with its great diver-
Children Seek Inf ormation about People and Places - 177
sity in geography, economy, and racial and
cultural groups. In turn, wide reading is
needed to understand India, Russia, or any
other country. It is hoped that the next dec-
ade will bring more well-written books which
will portray modern life in many parts of the
world.
As the teacher or librarian guides chil-
dren's reading of books about people in other
lands, she should consider the authenticity
of the book in terms of changes in the coun-
try. Perhaps peasant life in rural areas has
not changed appreciably, but the teacher will
need to help children understand modern life
in other countries through use of recent vis-
ual aids and resource people who have lived
or traveled in the country. To aid the teach-
ers and librarians using this book, factual
and fiction books about each continent have
been grouped together.
THE FAR EAST
A comparison of older and more recent sto-
ries about people of the Far East illustrates
the need for careful selection of these books.
Written by Eleanor Lattimore in 1931, Little
Pear is the story of a mischievous five-year-old
who explores his city in China. The sights
and sounds of the market would be somewhat
similar today, but there would be changes,
too. This book actually consists of a series of
incidents; the reader wonders what Little
Pear will do next. A book for young children
frequently included in bibliographies of
China is The Chinese Children Next Door
by Pearl Buck. In this story an American
mother describes the family of six Chinese
daughters who lived next door to her when
she was a girl in China. She tells about houses,
food, games, and customs as she weaves the
story of the Chinese parents who had six
beautiful daughters before the son finally
arrived. Little Fu, by Creekmore, is the ac-
count of the son of a tea merchant who goes
down the river to sell his tea. Under the pres-
ent Communistic regime it is doubtful that
bandits would be allowed to prevent river
trade. Warm family relationships are ex-
pressed in Liu's book, Little Wu and the
Watermelons. Here is a picture of farm life,
but it is far different from reports of life in
the communes. The money Wu has saved for
a bracelet for his mother is given to help buy
land; Wu seems almost too good to be real.
Beautifully composed photographs tell the
modern story of a five-year-old Swedish girl's
visit to Japan in Riwkin-Brick's Eva Visits
Noriko-San. Noriko-San is shown sleeping,
playing, bathing, and eating. When the little
girls exchange costumes the similarity of chil-
dren around the world is depicted. In The
Village Tree Yashima shows Japanese chil-
dren at play along a river. The movement and
rhythmical brush strokes convey the joy and
security of this childhood world of play.
Fujio, by Creekmore, shows modern Japan as
Fujio joins his father in climbing the famous
mountain. Games and festivals are described
in this story which has little plot. Uchida has
made the streets of modern Japan become
real as the reader hurries with Taka o to sell
his sword so he may win his father's grace in
Takao and Grandfather's Sword.
Older children will enjoy a mystery set in
modern Japan. In Secret of the Samurai
Sword , Phyllis Whitney writes of the adjust-
ment of an American-born Japanese girl to
the customs of Japan. Celia and Stephen
Bronson, American children, come to visit
their aunt in Japan and discover a ghost in
the garden. They feel the antagonism of Su-
miko’s grandfather toward Americans. Su-
miko, the Nisei, learns she must maintain
both American and Japanese patterns of life.
The mystery of the Samurai ghost is finally
solved and these Japanese-American relation-
ships are cemented.
After the Korean war, two books appeared
about life in this strife-torn land. In one book
Eisenberg recounts the tale of an ox who
would pull a plow only for a Korean boy.
This book, Won Kim's Ox, shows the con-
flict between superstition and modem medi-
cine. Another believable boy is created by
Paul Anderson in Yong Kee of Korea . Yong
Kee is finally allowed to join his father in
cutting grass on the mountain. Bundles of
dry grass are carried on the back in a frame
178 - Knowing Children’s Literature
Outstanding photography por-
trays the relationship of an
Indian boy and his pet tiger.
From Chendru, the Boy and the
Tiger by Astrid Sncksdorf. Har-
court, 1960.
called a jiggy and are later sold in the mar-
ketplace for fuel. Facts about home life,
school, and market are included in a natural
and interesting style. The author keeps the
flavor of the language with such phrases as
“He sleeps like a baby tiger full of milk.”
SOUTHERN ASIA
Pakistan, India, Burma — these countries with
their problems of independence and teeming
populations are represented by relatively few
modern books. A beautiful picture book by
Astrid Sucksdorf tells the story of Chendru.
Artistic color photographs tell the story of
an Indian boy and his love for a pet tiger.
The reader also learns of family life, food,
shelter, and work in the village. Rain in the
Winds by Claire and George Louden is an
interesting story set in a village in India. As
the boy Arun goes to find his elephant, Moti,
he discovers the wonderful changes wrought
by irrigation. The faces of the people are
beautifully illustrated. Green color is added
to the brown sketches when the text describes
the coming of rains. Louise Rankin writes an
exciting story of a young girl in the northern
mountains of India. Daughter of the Moun-
tains is the fascinating story of Momo's jour-
ney to the city to find her stolen dog. A Brit-
ish colonial officer's lady helps Momo solve
the many problems of her family and returns
the dog. The excellent writing creates beauti-
ful word pictures of India. In a setting in the
jungle region of India, Gift of the Forest is a
dramatic story of faith pitted against sorcery.
R. Lai Singh and Eloise Lownsbery based
the book upon a true story told by Mr.
Singh’s mother. When a young Indian, Bim,
makes his first trip into the jungle, he is over-
joyed to find a tiger cub. The village sor-
Children Seek Inf ormation about People and Places - 179
ceress insists a sacrifice be offered to offset
the evil brought to the village by the tiger.
Courage and faith are rewarded, but Bim
must one day give his beloved Heera back
to the jungle.
The life of an oozie, elephant driver, is
portrayed in Lindquist’s Burma Boy. Haji,
son of a crippled oozie, is determined to find
Madja Koom, his father’s elephant, who had
run away and become very destructive. The
exciting chase and the terrific ride on the
wild elephant are climaxed when Madja
Koom finally smells and recognizes the boy
who was his former playmate. Many facts
about the life and customs of these people
are related in this excellent story.
The grimness of famine in India is re-
vealed through the story of a young farm boy.
The Little Flute Player. The plot centers
upon the harvest — will there be enough?
How can they live until the next harvest?-
American children need the realism of such
a book as this one by Jean Bothwell. The
relationship of child to parent and the cus-
toms of men and women in the village are
described through the action of the story.
The role of the government in averting ac-
tual famine is shown, but these isolated vil-
lagers do not know assistance is available.
This book could be used appropriately in a
study of modern India. In Cobras , Cows, and
Courage, Bothwell tells the story of changes
in one farm family in India as a government
man brings new seed and shows the people
modern farming methods. The importance
of the monsoon is as dramatic as the incident
of the cobra gliding toward the baby. Geog-
raphy, economics, and history are included
in this interesting book.
MIDDLE EAST
A few books exemplify newer literature about
people in the middle east. The Arabs, by El-
lis introduces the upper-grade reader to this
civilization. Details of the life of the poor
and the well-to-do help the reader under-
stand the wide differences within one region.
Adjustment of the Nomads to the dry cli-
mate is described in an interesting style. The
teacher will need to guide discussion of such
ideas as, “Gradually maladministration and
corruption in office, coupled with internal
strife among leading Umaygal families, weak-
ened the dynasty until finally it fell before
a determined opponent in the east.” 26
The teacher will also need to guide chil-
dren in interpretation of pictures and photo-
graphs. In Turkey Old and New, Ekrem has
included numerous photographs, but the text
seldom explains these excellent pictures. On
pages fourteen and fifteen, there are pic-
tures of a country house in the southern part
of Turkey and a village at the foothills of
the Taurus Mountains. The teacher can
point out the terracing on the mountain
slope; she can direct children to locate these
places on a large map of Turkey; she can
suggest they look at the trees to see whether
they are deciduous; she can guide compari-
son of the sharp cliff in one picture and the
hills in the other; reasons for use of stone
walls could be considered as adjustment to
terrain is discussed. Children may interpret
information about customs in various ways.
A committee might be encouraged to drama-
tize the candy festival so vividly portrayed.
Vegetables could be prepared following the
description of grandmother’s day in the
kitchen. Children might dramatize the fol-
lowing scene in which a modern woman
comes to visit a home where the women main-
tain the old ways:
While Ali Efendi sips his coffee, sitting cross-
legged on the sofa, there is a knock at the door
and the neighbor's son arrives with his wife. . . .
Together husband and wife walk into the sitting
room The Istanbul girl, unlike the merchant’s
daughters, is used to showing her face to strange
men . . . soon one of his daughters knocks at the
door and hands in a tray She does not come
in as there are strange men in the room, but
hands the tray through to her brother.
A little later, the young bride goes to visit the
women of the house, who are gathered in the up-
stairs sitting room The Istanbul girl kisses the
hand of Granny and Ali Efendi's wife. She may
be modern, but she still is true to the upbringing
“Harry B. Ellis, The Arabs. Cleveland: World
Publishing Company, 1958. p. 52.
180 - Knowing Children* s Literature
of her childhood. And such wonderful tales she
has for the women of this small town! 27
The information children have obtained
about modern Turkey could thus be shared
through informal dramatization. In review-
ing books about other lands, the teacher
should be alert for possibilities of dramatic
presentation of the information.
AFRICA
There are few fictional books based upon
African life to supplement the very good in-
formational books which are currently avail-
able. Simba of the White Mane is an excit-
ing book by Arundel about the hunt for a
lion. The white hunter covers his own fear
with bravado as he hunts from a truck. Toki,
the young native who was a “stowaway” on
the safari, bravely faces the wounded lion.
The problem of conservation in Africa is
presented in this dramatic, action-packed
story. Sia Lives on Kilimanjaro is the photo-
graphic story of a little girl from East Africa
who goes to see the king. Anna Riwkin-
Brick’s photographs and Astrid Lindgren’s
text present a very warm story.
Life among the primitive groups is por-
trayed in Enright's story of the son of a jungle
chieftain, Kintu . Tension is high as Kintu
faces a leopard in combat and finally over-
comes his fear of the jungle. Published in
1935, this book does not hint at the progress
of peoples from stone age to modern civiliza-
tion in one or two generations. This is also
true of the beautiful family story, Thirty-One
Brothers and Sisters by Mirsky. The tribal
customs, food, and games would interest chil-
dren. They will need to discuss the patterns
of family life in order to compare and con-
trast differing customs.
There is stark realism in Gunther’s book,
Meet South Africa. An outspoken discussion
of apartheid and the color bar laws will lead
to challenging discussions among the older
children who use this book. Parts of the book
could be read by a committee who might
” Selma Ekrem, Turkey Old and New. New York:
Charles Scribner’s Sons, 1947. p. 25.
conduct a panel discussion of the issues
raised. In addition to the social problems,
the reader finds the description of the game
reserve fascinating, and the story of the dia-
mond rush is as exciting as our own gold
rush.
LATIN AMERICA
A well-written story with a good plot and
worthy theme may have any part of the world
as its setting. When such a story gives descrip-
tions of another land and creates a realistic
picture of life in another culture it makes an
especially worthy contribution. Secret of the
Andes , by Clark, and Chucaro, Wild Pony of
the Pampa , by Kalnay, are examples of books
which satisfy all these requirements. The
first book is laid in the high Andes of Peru
where Cusi, the favored one, is directed to
“follow his heart” to learn about his role in
carrying on the proud Inca traditions. Cusi,
the appointed one in Secret of the Andes,
looks out at his world. Through his eyes the
reader visualizes the following scene:
They lived in a hidden valley high up on the
rock slope of a mountain. Mountain peak upon
mountain peak, sheer and hard and glistening in
frozen mantles of ice and snow, encircled them —
Hundreds of llamas were munching the moss-
green ychu grass that covered the floor of the
highland valley. They made spots of golden yel-
low against the soft green of the ychu and the
glaring white of the glacier snow fields. 28
Such passages develop geographic under-
standings. Kalnay ’s rich description of the
Argentine pampa adds beauty to the moving
story of a boy who became the owner of Chu-
caro, the wild pony. Concepts of other farm-
lands and ways of ranching are extended as
the reader shares Pedro’s sadness in facing
the developmental task of leaving familiar
surroundings. Politi's illustrations of Ecua-
dor make the story of a burro real and alive.
In Looking-for-Something: The Story of a
Stray Burro of Ecuador, the author, Clark,
relates the adventures of the burro in the ba-
nana country, in a city, in the gold mining
28 Ann Nolan Clark, Secret of the Andes. New York:
The Viking Press, 1950. p. 12, 13.
Children Seek Inf ormation about People and Places - 181
region, and in the forests inhabited by In-
dians. When the burro finally finds a boy,
the reader has enjoyed a story; he has also
built new concepts of this country to the
south.
Three books about Mexico were written
for younger children. The Painted Pig by
Elizabeth Morrow is quite old, 1930, but the
illustrations by Ren£ D’Harnoncourt convey
the color and design typical of the country.
There is very little plot to this story of Pe-
dro’s search for a painted pig like the one be-
longing to his sister. In Hat for a Hero, Laura
Bannon writes a very amusing story of a small
Indian who wanted a man-style hat. Pedro
always seemed to be in the wrong. He tears
the fishing nets when his pig throws him off
stilts; he loses the widow’s turkey; he slides
down the mountain, only to ruin the fish and
injure his sister. The market scene is es-
pecially descriptive. When he saves his sister
from a bull, he becomes the village hero.
Bannon has also written of child life in Man -
uela’s Birthday in Old Mexico. A Mexican
child’s wish lor an American doll is realized
when two American artists make her a yarn
doll. The characters are quite stylized, but
the color and design in the illustrations are
very pleasing. This book does little to help
children understand modern life in Mexico.
The 1960 Caldecott award was given Marie
Hall Ets for Nine Days to Christmas. Ceci, a
little Mexican girl, could hardly wait for the
time to buy the piiiata for her first Christmas
posada. Here is a truly modern setting. Tele-
vision antenna, streamlined cars, modern
bath tubs, kitchen ranges, and women in
modern dress create the feeling of busy, mod-
ern city life. Even a Dairy Queen store is on
Ceci’s street! The gray backgrounds are en-
livened with brilliant pink, orange, and yel-
low. What fun children will have in visiting
the piiiata market with Ceci! In this excellent
book, children of all ages will identify with
the Mexican children at the party.
The language of a book about other peo-
ples may limit its effectiveness. Treasure in
the Andes, by Alfred Lewis, is an interesting
story about Pepito, a Peruvian boy who
wanted to be an artist. Finding a silver mine
is exciting. However, the distorted jargon
represented by this conversation is stereo-
typed and unnatural:
There was a worried look in Papa Contento’s
eye as he turned to Pepito. “That man go to
mine," he said. “If he is not good driver, he have
trouble crossing Adobe Flats. Flats are slick with
rain.” 29
EUROPE
Many series books present information about
countries in Europe. Fiction about countries
in Europe is of two types. One group con-
sists of books originally written in English
while the other group contains literature
which has been translated. Among those orig-
inally written in English are many books rep-
resenting life in an earlier day. In more re-
mote areas life may be continuing in the
same way, but it is very important that chil-
dren and teachers become aware of copy-
right dates. Two books about Switzerland
contain lovely illustrations. Kobi by Mary
and Conrad Buff, and A Bell for Ursli by
Chonz depict rural life in the mountains. The
setting of mountains, chalets, and green pas-
tures truly portrays the countryside. How-
ever, there is little plot in either story, and
the characters do not seem real. Annette
Turngren has written the story of her Swedish
childhood in Flaxen Braids. As the Swedish
family moves northward to find work, farm
customs of nearly a century ago are described.
Nils by Ingri and Edgar d’Aulaire is often
on lists of books about Norway. Actually, this
is the story of a Norwegian boy who comes
to America. The theme of adjustment would
suggest this book be classified with those in
which a new boy meets a very different school.
One picture in which Nils is standing alone
in the center of a teasing group of children
accurately portrays the tension of the mo-
ment. Several bibliographies include the
beautifully illustrated Ola as a book to help
children understand Norway. Actually, Ola's
unusual adventures make this fantasy. What
29 Alfred Lewis, Treasure in the Andes. Nashville,
Tenn.: Abingdon Press, 1952. p. 14.
Authentic illustrations, such as this stave church, give
background for a Norwegian story. From Ola by
Ingri and Edgar d’Aulaire. Doubleday, 1932.
is learned in this book? The reader learns
there are forests in Norway, Lapps live in the
north, fishing is an industry, and eiderdown
is gathered from nests. The story is delight-
ful; the pictures are gay and bright; Ola
wends his way about the country with joyous
abandon. This is a book which can be used
much like poetry to enrich a child’s feeling
and appreciation for a country. The teacher
will need to use other books, pictures, and
displays to develop concepts of the country
and its people today. My Swedish Cousins, by
the well-known team of Riwkin-Brick and
Lindgren, photographer and writer, tells a
slight story of cousins in Sweden who come
from their various homes to visit their grand-
mother in midsummer. The excellent photo-
graphs convey the humor and warmth of
these children as they describe daily life in
various parts of Sweden.
Magic Word for Elin is a mystery story
which presents a good picture of modem life
in Finland. Lide and Johansen write of Elin’s
move with her family from Helsinki to a
182
farm. Her uncle suggests she try to find magic
words to banish the ghost from Haunted
Hill. Elin grows up as she adjusts to the new
school and she finds the magic word is Sisu,
meaning courage and fortitude.
The necessity for guiding children’s read-
ing instead of merely bringing books to the
classroom is realized when the teacher re-
views such a book as Gudrun Thome-
Thomsen’s In Norway. The information is
interesting, the black-and-white sketches are
lovely. The text includes early history, infor-
mation about homes, industries, customs.
The legends and adventures of workers such
as the lighthouse keepers are well-written.
However, some phrases need explanation if
the child is to gain understanding from this
book. “Passionate love for their country,”
“procure trading privileges,” and “real re-
nascence began” are examples of such phrases.
Two World War II stories have actually
become historical. In Pancakes Paris by Claire
Huchet Bishop a French boy receives a box
of pancake mix from a G. I. but has much dif-
ficulty reading the English directions. Scenes
of Paris enhance the story. The poignant dis-
cussions of before (before the war) are en-
livened by the joyful party. Another book by
this author, Twenty and Ten, tells of the
Jewish children who are given refuge in a
French orphanage. They also talk about be-
fore when there were no ration cards. This
book shows the bravery of children as they
maintain silence under Nazi investigation.
Their humorous play titled “The Flight Into
Egypt” is delightful!
A modern fanciful tale was created by
Andr£ Maurois. Simply titled. The French
Boy, this photographic story tells of one boy’s
daily life. When the boy, Nico, pretends to be
a dog for a day he has some very interesting
experiences.
A farm boy in the French Alps faces lone-
liness on a mountain in All Alone by Claire
Huchet Bishop. Marcel and Pierre become
friends when a terrible storm blocks their
trail to the village. This action reverses the
behavior which had been typical of the vil-
lage — keep to yourself and have nothing to
Children Seek Information about People and Places - 183
do with neighbors. The villagers work to-
gether to clear the trail and find unified ac-
tion so good they decide to set up a farm co-
operative.
The teacher should help children under-
stand that the story usually takes place in
only one part of a country, even one part of
a city; it can present only a limited facet of
life in a city, a region, a country, or at a par-
ticular time. The view of Paris which is pre-
sented by Carlson in A Family Under the
Bridge is realistic, but very limited! The
sights, sounds, and smells of some areas of the
city reach the senses of the reader and paint
a vivid picture of the alleys and side streets
where Armand leads the children to gather
food. Children must realize this is only a thin
slice of life in Paris.
This Is Paris is a delightful, amusing travel
guide for children. The well-known Czech
painter, Sasek, has used the techniques of
Monet and Seurat to express the reflections
of the “City of Light” as tiny dots of color
shimmer below the Eiffel Tower. The peo-
ple’s faces are reminiscent of Modigliani, for
example, the lady carrying the long bread
stick. Famous landmarks, such as Notre
Dame, Pont de Neuf, and the Louvre, as well
as everyday bus stops, book stalls, and letter
boxes are pictured with enough space for
comfort. Wisely, he included the Monkey’s
Paradise at the zoo, French poodles, and a
cemetery for dogs. Adults who have been in
Paris may enjoy this book even more than
children! The same author-illustrator has
written This Is London and This Is Rome .
The Newbery award book, Wheel on the
School by Dejong, exemplifies the well-
written book which has a setting in another
country. In the search for a wheel for stork
nests, each character reveals his personality
structure. From this book the child can learn
much about rural life in The Netherlands.
Usually the emphasis in books which have
been translated is upon the story itself. Some-
times information is included; in a subtle
way children learn about people as people,
not as “foreigners.” The Spettecake Holiday
by Unnerstad shows farm life in Sweden as
Pelle-Goran visits his relatives. There is
humor and mystery in this story of a little
boy’s stay with his grandmother. Lisa and
Lottie by Erich Kastner shows the way two
children react to the divorce of their parents.
At a summer camp they realize they are ac-
tually twins, but do not reveal the secret. As
they return home they exchange places — one
goes to the father, an orchestra conductor and
a composer, while the other, who was for-
merly with her father, joins the mother. The
way the family is finally reunited is an inter-
esting, if somewhat contrived, story. From an-
other translation, children in America can
learn that the needs and interests of German
children are like theirs. When German chil-
dren in The Girl from Nowhere by Von Geb-
hardt try to keep a newcomer out of their
Amusing illustrations capture the tourists’ view of
London. From This Is London by Miroslav Sasek.
Macmillan, 1959.
184 - Knowing Children's Literature
street, gang behavior, similar to that found in
America, is evident. The description of
schools and apartment living in post-war
Germany helps make this a story to build
understanding. Many children will identify
with the lonely child standing by the lamp
post.
Books for children quickly reflect new in-
terests of man in exploring the earth. Re-
cently, several books about the Arctic and
Antarctic have appeared. Usually this infor-
mation is not available in textbooks; there-
fore, the teacher needs to use literature to
meet current interests and enrich the social
studies. There is a freshness about these in-
formational books, perhaps due to the excel-
lent photographs, perhaps because the authors
are usually people who have actually lived in
these regions. In People of the Snow , Wanda
Tolbloom, wife of a fur trader who lived
among the Eskimos, writes of changing ways
of life, games and art. For more advanced
readers, or for the teacher to read aloud, Here
Is the Far North by Stefanson describes the
museum of the perma-frost region, Icelandic
volcanoes, and current activities in Russian
Siberia. Euller’s exciting accounts of explora-
tions in Arctic World would inspire young
adventurers. The description of life at the
air base at Thule, Greenland, would be of
special interest to children who know airmen
or contractors developing this region.
Although it seems there are quantities of
books about people in other lands, the
teacher finds gaps when she searches for ma-
terial relating to some areas. There is very
little information about islands of the Pa-
cific, the near East, and China. A sixth-grade
teacher looking for literature about Russia
found only a few recent volumes. The ma-
jority of the books on the shelf were written
in the mid-forties when it was “safe” and ac-
ceptable to write about Russia. A recent pho-
tographic book provides excellent informa-
tion. Vandivert's Children of the USSR at
Work and at Play makes it possible for
American children to compare their activi-
ties. This photographer shows the child in
the nursery, children bringing flowers to
school, laughter, and lessons. The text makes
clear the influence of government in the life
of the child and shows the lack of freedom to
choose schools or vocations. A major part of
Here Is the Far North describes Russian Si-
beria as the biggest, coldest, and busiest part
of the Arctic. Stefanson's excellent photo-
graphs help children visualize the tundra and
taiga. The use of slave labor is included in
the account of the more recent development
of the region. Getting to Know the USSR
presents facts about the life of the people,
especially children. Wallace's comparison of
the geographic features of the United States
and the USSR is very good. The reader is not
overwhelmed by details of history, but
enough information for the elementary-
school child is included. The author reports
Soviet children study harder than American
children. As evidencehe notes that they have
arithmetic every year, that they have chem-
istry, physics and biology in elementary
school. Many elementary school children in
America will reply, “But we do, too!” Ele-
mentary science in many schools includes
content from physics and chemistry although
these labels are not used. The major differ-
ence is in the study of a foreign language, but
this, too, is changing in American education.
Wallace also says the study of heroes is “sup-
posed to make them love their country.” Isn’t
the same goal expressed in American schools?
Information about cost of clothing and food
will be of interest to boys and girls. This au-
thor makes clear the ideological differences.
In writing of Pasternak he concludes by
pointing out the Communist doctrine that
truth is whatever the government says it is.
The First Book of the Soviet Union by Sny-
der provides a political history of the country.
Photographs are often blurred and do little
to illuminate the text. Many phrases would
have little meaning; for example, “a cultural
awakening,” “a soviet,” “no more capitalism
in Russia.” However, the section on “Com-
munist Jargon” is well-written. To show the
influence of the party, the author quotes a
teacher's comments to her class. In italics the
author writes, “But this teacher was not tell-
Children Seek Inf ormation about People and Places - 185
ing the truth. She is following the party line
and telling the pupils what the party wants
them to believe . . . .” 30
He goes on to cite a boy’s recitation from a
text about Russia’s entry into war against
Japan. Again, the author points out the
errors, but it might be noted that he, too,
does not tell the “whole story.” It would be
wise to read this book aloud to promote com-
parison with other references. Savage de-
scribes Russia’s rise to power in People and
Power, The Story of Three Nations. The text
seems slow and ponderous; small type is used,
there is little space, and the photographs are
uninteresting. This account ends with events
in 1941. In a different vein, the Beims de-
scribe family life which centers around the
samovar. Sasha and the Samovar tells of a
little farm boy who wants to help, just as all
small boys try to assume adult roles.
Nazaroff presents the history of some of the
Russian cities in The Land of the Russian
People. Emphasis is upon the development of
the present political and economic system.
Peoples of the USSR , written by Strong in
1944, reveals the author’s strong bias toward
these people. Her implicit faith in Stalin cre-
ates questions for the reader of today. The
dramatic account of the defense of Stalingrad
helps the reader feel sympathy for the Rus-
sians as people. The Foreword tells of Mrs.
Strong’s pioneering spirit for she was “the
first American” in many of the regions she
describes. However, one wonders how she
would describe the country today. It is indeed
difficult to present a picture of a country be-
hind an Iron Curtain.
CRITERIA FOR BOOKS ABOUT OTHER LANDS
In selecting fictional literature about other
lands, the teacher and librarian should con-
sider several criteria in addition to those for
all good fiction for children:
• Is the setting authentic?
• Does the book portray present-day life?
If the story takes place in the past, is
"Louis Snyder, The First Book of the Soviet Union.
New York: Franklin Watts, Inc., 1959. p. 81.
the reader made aware of the period of
time?
• Do the characters represent realistic
human personalities?
• Does the book reflect technological, eco-
nomic, political, and social changes?
• Is information included naturally and
not extraneously?
• Is the dialogue natural?
• Are stereotypes avoided?
• Does the book really help the reader
understand life in this country?
SUMMARY
Literature to help children understand con-
cepts in the social studies includes both fic-
tional and informational books. These books
are related to the social processes of providing
food, clothing, shelter, transportation, com-
munication, and government. Children need
a wide variety of books about people in the
United States and other lands. Many series
books are excellent resources, but each book
should be evaluated by the teacher. Recency,
accuracy, clarity of style, photography, and
interest should be considered. Although chil-
dren should become aware of differences
among peoples, literature should contribute
to an understanding of the common needs of
mankind. By identifying with believable peo-
ple in literature, children can develop atti-
tudes of acceptance of difference as an en-
richment of life.
It is not enough to provide many books in
the classroom; the teacher must guide chil-
dren's reading through group discussion and
individual conference. Children should be
encouraged to interpret books about people
and places in many ways as suggested in
Chapter 12. To develop understandings of
the modern world, literature should enrich
and be enriched by contacts with people
from other lands, films, filmstrips, recordings,
and trips in the local community. The
teacher is challenged to use many media and
a wide range of literature in helping children
solve problems of concern to them in the
186 - Knowing Children* s Literature
present in order that they may develop skills
and knowledge which will make it possible
for them to solve the problems of tomorrow.
SUGGESTED ACTIVITIES
1. Observe a sharing period and record the
social processes which are discussed.
2. Review books for one grade level related
to one of the social processes. Cards simi-
lar to those developed for recording eval-
uations of science books should be made.
3. Read several factual and fictional books
about one country. Compare the facts
given, the photographs, and style of
writing.
4. If possible, show several books about his
country to a person from that land. Ask
him about possible stereotypes, facts, and
general impressions presented in the book.
5. Select three or four current problems in
the community, nation, or world. Locate
books which would help children under-
stand these problems. Collect related pic-
tures and ephemeral material which would
be useful in the classroom.
6. Preview films, filmstrips, and recordings
which would extend children's under-
standing of the social process or the coun-
try selected in 2 or 3 above. Prepare an
evaluative card for each. (See Chapter 11.)
7. Select a social-studies textbook for one
grade level. Choose one of the text units
and indicate the children’s literature
which would supplement this text.
BELATED READINGS
Eakin, Mary K. Good Books for Children. Chicago:
University of Chicago Press, 1959.
By using the index organized according to subject,
the teacher can locate books related to the study
of social processes and other lands. Each book is
critically annotated.
Jarolimek, John. Social Studies in Elementary Educa-
tion. New York: The Macmillan Company, 1959.
“The Development of Social Studies Units” gives
an excellent background for understanding the use
of literature in the social-studies program.
Kenworthy, Leonard. Introducing Children to the
World. New York: Harper & Brothers, 1956.
An outstanding book which presents the need for
a planned program to develop international under-
standing. Many books for children and teachers are
included. The themes for study at all levels will
guide teachers in developing a good program for
world understanding.
Michaelis, John U. Social Studies for Children in a
Democracy. Second Edition. Englewood Cliffs, N. J.:
Prentice- Hall, Inc., 1956.
Definitions and objectives of the social studies will
provide background for the good description of
patterns of organization. Guides for the develop-
ment of concepts and generalizations are presented
in Chapter 4.
Miel, Alice and Peggy Brogan. More Than Social
Studies. Englewood Cliffs, N. J.: Prentice- Hall, Inc.,
1957.
This book presents the concept of social education
which goes beyond the social studies. The anecdotal
accounts of children's learning experiences will be
especially useful. Also, the discussion of social
studies units presents a viewpoint which should be
considered by the teacher.
National Society for the Study of Education. Fifty-
sixth Yearbook, Part II. Social Studies in the Ele-
mentary School. Chicago: University of Chicago
Press, 1957.
Chase discusses “Individual Differences in Class-
room Learning” and Burrows gives good sugges-
tions for “Reading, Research, and Reporting in the
Social Studies.” The need for “Education for Inter-
national Understanding” is clearly defined by Wil-
son and Collings.
Tooze, Ruth and Beatrice Krone. Literature and
Music as Resources for Social Studies. Englewood
Cliffs, N. J.: Prentice-Hall, Inc., 1955.
In Part II, Growing Up as a Citizen of the World,
the authors list books and music about many coun-
tries. Folk tales, fiction, and informational books
are included. Annotations are brief.
CHAPTER REVERENCES
Allee, Vera E. The Frozen Foods Plant. Photographs
by Robert Fogata. Chicago: Melmont Publishers,
1955.
Ames, Gerald and Rose Wyler. The First People in
the World. Pictures by Leonard Weisgard. New
York: Harper & Brothers, 1958.
Anderson, Paul. Yong Kee of Korea. Illustrated by
Yong Hwan Kim. New York: William R. Scott,
Inc., 1959.
Arundel, Jocelyn. Simba of the White Mane . Illus-
Children Seek Information about People and Places - 187
trated by Wesley Dennis. New York: Whittlesey
House, 1958.
d'Aulaire, Ingri and Edgar Parin (authors-illustra-
tors) . Nils. New York: Doubleday & Company, Inc.,
1948.
Ola. New York: Doubleday & Company, Inc.,
1939.
Bailey, Bernadine. Forests and Fiords. Illustrated by
Aase Skotting. Chicago: Beckley-Cardy Co., 1952.
Picture Book Series of the United States. Illus-
trated by Kurt Wiese. Chicago: Albert Whitman
& Company, 1951.
Baldwin, Clara. The Hermit of Crab Island. Illus-
trated by Ray Campbell. Nashville: Abingdon Press,
1958.
Bannon, Laura (author-illustrator) . Hat for a Hero.
Chicago: Albert Whitman & Company, 1954.
Manuela’s Birthday in Old Mexico. Chicago:
Albert Whitman & Company, 1939.
Barr, Jene. Fireman Fred. Illustrated by Chauncey
Maltman. Chicago: Albert Whitman & Company,
1952.
Mr. Mailman. Illustrated by Chauncey Malt-
man. Chicago: Albert Whitman 8c Company, 1954.
Policeman Paul. Illustrated by Chauncey Malt-
man. Chicago: Albert Whitman & Company, 1952.
Bate, Norman (author-illustrator) . Who Built the
Bridge? New York: Charles Scribner’s Sons, 1954.
(author-illustrator) . Who Built the Dam?
New York: Charles Scribner's Sons, 1958.
Bauer, Helen. Hawaii , the Aloha State. Illustrated
with photographs. Linecuts by Bruce McCurdy. New
York: Doubleday & Company, Inc., 1960.
Beim, Lorraine and Jerrold. Sasha and the Samovar.
New York: Harcourt, Brace 8c Company, 1944.
Bendick, Jeanne (author-illustrator) . First Book of
Supermarkets. New York: Franklin Watts, Inc.,
1954.
Berner, Elsa. Germany. New York: Holiday House,
1951.
Bethers, Ray. Perhaps I’ll Be a Farmer. New York:
Aladdin, 1950.
Billings, Henry (author-illustrator) . Construction
Ahead. New York: The Viking Press, Inc., 1951.
Bishop, Claire Huchet. All Alone. Illustrated by Feo-
dor Rojankovsky. New York: The Viking Press,
Inc., 1953.
Pancakes Paris. Illustrated by Georges Schrei-
ber. New York: The Viking Press, Inc., 1947.
Twenty and Ten. Illustrated by William P£ne
DuBois. New York: The Viking Press, Inc., 1952.
Blough, Glenn O. Lookout for the Forest. Pictures by
Jeanne Bendick. New York: Whittlesey House, 1955.
Bonner, Mary Graham. Made in Canada. New York:
Alfred A. Knopf, Inc., 1943.
The Real Book About Crime Detection. Il-
lustrated by Vincent Fodera. Garden City, N. Y.:
Garden City Books, 1957.
Bothwell, Jean. Cobras, Cows and Courage. Drawings
by Donald Pitcher. New York: Coward- McCann,
Inc., 1956.
Little Flute Player. Illustrated by Margaret
Ayer. New York: Harcourt, Brace & Company, 1945.
Bradley, Duane. Engineers Did It! Illustrated by Anne
Marie Jauss. Philadelphia: J. B. Lippincott Com-
pany, 1958.
Buchheimer, Naomi. Let's Go to the Library. Pictures
by Vee Guthrie. New York: G. P. Putnam's Sons,
1957.
Let's Take a Trip to a Fire House. Drawings
by Vee Guthrie. New York: G. P. Putnam's Sons,
1956.
Buckley, Peter (author-illustrator) . Jan of Holland.
New York: Franklin Watts, Inc., 1956.
Buehr, Walter (author-illustrator) . Bread, the Staff
of Life. New York: William Morrow & Company,
Inc., 1959.
Meat From Ranch to Table. New York: Wil-
liam Morrow & Company, Inc., 1956.
Oil , Today’s Black Magic. New York: William
Morrow & Company, Inc., 1957.
Treasure, the Story of Money and Its Safe
Guarding. New York: G. P. Putnam's Sons, 1955.
Trucks and Trucking. New York: G. P. Put-
nam’s Sons, 1957.
Buff, Mary and Conrad. Kobi, a Boy of Switzerland.
Lithographs by Conrad Buff. New York: The Vik-
ing Press, Inc., 1939.
Bunce, William H. Freight Trains. Drawings by Lem-
uel B. Line. New York: G. P. Putnam’s Sons, 1954.
Burchard, Peter (author-illustrator) . The Carol
Moran. New York: The Macmillan Company, 1958.
Burns, William A. A World Full of Homes. Pictures
by Paula Hutchison. New York: Whittlesey House,
1953.
Burt, Olive W. Peter’s Sugar Farm. New York: Holt,
Rinehart and Winston, Inc., 1954.
Caldwell, John Cope. Let’s Visit Middle Africa. New
York: The John Day Company, 1958.
Let’s Visit the Middle East. New York: The
John Day Company, 1958.
Carlson, Natalie Savage. The Family Under the
Bridge. Pictures by Garth Williams. New York:
Harper & Brothers, 1958.
Carpenter, Frances. Tales of a Chinese Grandmother.
Illustrated by Malth£ Hasselbriis. New York:
Doubleday & Company, Inc., 1937.
Case, Bernard. The Story of Houses. New York: Ster-
ling Publishing Co., 1957.
Chase, Richard. The Jack Tales. Illustrated by Berke-
ley Williams. Boston: Houghton Mifflin Company,
1947.
Chonz, Selena. A Bell for Ursli. Illustrated by Alois
Carigiet. New York: The Oxford University Press,
1950.
Clark, Ann Nolan. Looking for Something: the Story
188 - Knowing Children’s Literature
of a Stray Burro of Equador . Illustrated by Leo
Politi. New York: The Viking Press, Inc., 1952.
Secret of the Andes. Drawings by Jean Chariot.
New York: The Viking Press, Inc., 1952.
Cochrane, Joanna. Let's Go to the United Nations
Headquarters . Illustrated by Alan Moyler. New
York: G. P. Putnam’s Sons, 1958.
Coffin, Robert Peter Tristam. New England. Picture
maps by Janet Croninger. Grand Rapids, Mich.:
The Fideler Company, 1951.
Colby, Carroll B. Smoke Eaters. New York: Coward-
McCann, Inc., 1954.
Comfort, Mildred H. Kish of India. Illustrated by
Arthur Paul. Chicago: Beckley-Cardy Co., 1953.
Temple Town to Tokyo. Illustrated by Ar-
thur Paul. Chicago: Beckley-Cardy Co., 1952.
Cooke, David C. How Superhighways Are Made. New
York: Dodd, Mead & Company, 1958.
Coy, Harold. The First Book of Congress. Pictures
by Helen Borten. New York: Franklin Watts, Inc.,
1958.
The First Book of the Supreme Court. Pictures
by Helen Borten. New York: Franklin Watts, Inc.,
1958.
Craz, Albert. Getting to Know Liberia. Illustrated by
Don Lambo. New York: Coward-McCann, Inc.,
1958.
Credle, Ellis (author-illustrator) . Down , Down the
Mountain. New York: Thomas Nelson 8c Sons, 1934.
Creekmore, Raymond (author-illustrator) . Fujio.
New York: The Macmillan Company, 1951.
(author-illustrator) . Little Fu. New York:
The Macmillan Company, 1947.
Dana, Dorothea. Sugar Bush. New York: Thomas
Nelson & Sons, 1947.
Davis, Fanny. Getting to Know Turkey. Illustrated
by Don Lambo. New York: Coward-McCann, Inc.,
1957.
Davis, Robert. France. Illustrated by Rafaello Busoni.
New York: Holiday House, 1947.
Dejong, Dola. Picture Story of Holland. Illustrated
by Gerard Hordyk. New York: David McKay Com-
pany, Inc., 1946.
Dejong, Meindert. The Wheel on the School. Illus-
trated by Maurice Sendak. New York: Harper &
Brothers, 1954.
Dodge, Mary Mapes. Hans Brinker; or, The Silver
Skates. Illustrated by Milo Winter. Skokie, 111.:
Rand, McNally & Company, 1916.
Dudley, Nancy (Lois Dwight Cole) . Linda Goes to
a TV Studio. Pictures by Sofia. New York: Coward-
McCann, Inc., 1957.
Edel, May. The Story of People. Illustrated by Her-
bert Danska. Boston: Little, Brown & Company,
1953.
Eisenberg, Philip. Won Kim's Ox. Illustrated by Hilda
Eisenberg. Chicago: Follett Publishing Company,
1956.
Ekrem, Selma. Turkey Old and New. Map by Ray-
mond Lufkin. New York: Charles Scribner’s Sons,
1947.
Ellis, Harry B. The Arabs. Illustrated by Leonard
Everett Fisher. Cleveland: World Publishing Com-
pany, 1958.
Elting, Mary and Margaret Grossett. The Lolly pop
Factory — and Lots of Others. Pictures by Jeanne
Bendick. New York: Doubleday & Company, Inc.,
1946.
Elting, Mary. Trucks at Work. Pictures by Ursula
Koering. Garden City, N. Y.: Garden City Books,
1946.
Enright, Elizabeth (author-illustrator) . Kintu. New
York: Farrar and Rinehart, 1934. o.p. (Included
in Best in Children's Books, Vol. 23. Garden City,
N. Y.: Doubleday Children’s Book Club.)
Estes, Eleanor. The Moffats. Illustrated by Louis Slo-
bodan. New York: Harcourt, Brace & Company,
1941.
Ets, Marie Hall and Aurora Labastida. Nine Days to
Christmas. Illustrated by Marie Hall Ets. New
York: The Viking Press, Inc., 1959.
Euller, John. Arctic World. New York: Abelard-Schu-
man, Limited, 1958.
Evans, Eva Knox. All About Us. Illustrated by Vana
Earle. New York: Capital Publishing Co., Inc., 1947.
People Are Important. Illustrated by Vana
Earle. New York: Capital Publishing Co., Inc., 1951.
Why We Live Where We Live. Illustrated by
Ursula Koering. Boston: Little, Brown & Company,
1953.
Feldman, Herbert. Land and People of Pakistan.
Philadelphia: J. B. Lippincott Company, 1958.
Fergusson, Erna. Let's Read About Hawaiian Islands.
Grand Rapids, Mich.: The Fideler Company, 1955.
Fisher, Dorothy Canfield. A Fair World For All, the
Meaning of the Declaration of Human Rights.
Illustrated by Jeanne Bendick. New York: Whit-
tlesey House, 1952.
Fisher, Lois J. (author-illustrator) . You and the
United Nations. Chicago: Childrens Press, Inc.,
1947.
Floherty, John Joseph. Our FBI — an Inside Story.
Philadelphia: J. B. Lippincott Company, 1951.
Galt, Tom. How the United Nations Works. New
York: Thomas Y. Crowell, 1947.
Gianakoulis, Theodore. Land and People of Greece.
Philadelphia: J. B. Lippincott Company, 1952.
Gidal, Tim and Sonia. My Village in Austria. New
York: Pantheon Books, Inc., 1956.
My Village in India. New York: Pantheon
Books, Inc., 1956.
Goetz, Delia. The Arctic Tundra. Illustrated by Louis
Darling. New York: William Morrow & Company,
Inc., 1958.
Let's Read About South America. Grand
Children Seek Information about People and Places - 189
Rapids, Mich.: The Fideler Company, 1950.
Golden, Grace B. Made in Iceland. Illustrated by
Loreen de Waard. New York: Alfred A. Knopf,
Inc., 1958.
Goodspeed, J. M. Let's Go to a Supermarket. Illus-
trated by Ruth Van Sciver. New York: G. P. Put-
nam’s Sons, 1958.
Gordon, Dorothy. You and Democracy. Pictures by
Lois Fisher and Karl Murr. New York: E. P. Dut-
ton & Co., Inc., 1951.
Granberg, Wilbur J. Johnny Wants to Be a Police-
man. Illustrated by Alison Cummings. New York:
Aladdin, 1951.
Greene, Carla. A Trip on a Train. New York: Lan-
tern Press, Inc., 1956.
Gringhuis, Richard H. (author-illustrator) . Here
Comes the Bookmobile. Chicago: Albert Whitman
& Company, 1952.
Gunther, John. Meet South Africa. Illustrated by
Grisha. New York: Harper & Brothers, 1958.
Hahn, Emily. First Book of India. New York: Frank-
lin Watts, Inc., 1955.
Hansen, Harry. The Story of Illinois. Illustrated by
John N. Barron. Garden City, N. Y.: Garden City
Books, 1956.
Harvey, Lois. Cotton Growing. Illustrated by James
Frew. Chicago: Melmont Publishers, 1958.
Hastings, Evelyn B. The Department Store. Photo-
graphs by Lewis A. Ogan. Chicago: Melmont Pub-
lishers, 1956.
Havighurst, Walter. The Midwest. Picture maps by
Jessie Miersma. Grand Rapids, Mich.: The Fideler
Company, 1951.
The Northeast. Picture maps by Janet Cronin-
ger and Robert Poterack. Grand Rapids, Mich.:
The Fideler Company, 1952.
Hengesbaugh, Jane R. I Live in So Many Places. Il-
lustrated by Katherine Evans. Chicago: Childrens
Press, Inc., 1957.
Holisher, Desider and Graham Beckel. Capitol Hill:
The Story of Congress. New York: Henry Schuman,
Inc., 1952. -
Holling, Holling C. (author-illustrator) . Minn of the
Mississippi. Boston: Houghton Mifflin Company,
1952.
Paddle-to-the-Sea. Boston: Houghton Mifflin
Company, 1941.
Hollos, Clara. The Story of Your Coat. Pictures by
Herbert Kruckman. New York: International Pub-
lishers Co., 1945.
Hunt, George Pinney. The Story of the U.S. Marines.
Illustrated by Charles J. Mazoujian. New York:
Random House, Inc., 1951.
Ipcar, Dahlov (author-illustrator) . Ten Big Farms.
New York: Alfred A. Knopf, Inc., 1958.
Jackson, Kathryn. Homes Around the World. Mor-
ristown, N. J.: Silver Burdett Company, 1957.
Pets Around the World. Morristown, N. J.:
Silver Burdett Company, 1957.
and F. D. Becker. Work Around the World.
Morristown, N. J.: Silver Burdett Company, 1957.
Jarecka, Louise Llewellyn. Made in Poland. Illus-
trated by M. S. Nowicki. New York: Alfred A.
Knopf, Inc., 1949.
Jupo, Frank J. (author-illustrator) . Nothing to Wear
but Clothes. New York: Aladdin, 1953.
Kalnay, Francis. Chucaro, Wild Pony of the Pampa.
Illustrated by Julian de Miskey.'New York: Har-
court. Brace & Company, 1958.
Kastner, Erich. Lisa and Lottie. Illustrated by Walter
Trier. Boston: Little, Brown & Company, 1949.
Knight, Clayton and K. S. The Real Book About Our
Armed Forces. Illustrated by Clayton Knight. Gar-
den City, N. Y.: Garden City Books, 1959.
Krasilovsky, Phyllis. Benny's Flag. Pictures by W. T.
Mars. Cleveland: World Publishing Company, 1960.
Kuhn, Ferdinand. The Story of the Secret Service.
New York: Random House, Inc., 1957.
LaFarge, Oliver. The Mother Ditch. Illustrated by
Karl Larsson. Boston: Houghton Mifflin Company,
1954.
Lattimore, Eleanor Frances (author-illustrator) . Lit-
tle Pear and His Friends. New York: Harcourt,
Brace & Company, 1931.
Leaf, Munro (author-illustrator) . Three Promises to
You. Philadelphia: J. B. Lippincott Company, 1957.
Lenski, Lois (author-illustrator) . Corn Farm Boy.
Philadelphia: J. B. Lippincott Company, 1954.
Cotton in My Sack. Philadelphia: J. B. Lippin-
cott Company, 1949.
Little Sioux Girl. Philadelphia: J. B. Lippin-
cott Company, 1958.
Prairie School. Philadelphia: J. B. Lippincott
Company, 1951.
Strawberry Girl. Philadelphia: J. B. Lippin-
cott Company, 1945.
Texas Tomboy. Philadelphia: J. B. Lippin-
cott Company, 1950.
The Little Train. New York: Oxford Univer-
sity Press, 1940.
We Live by the River. Philadelphia: J. B.
Lippincott Company, 1958.
We Live in the City. Philadelphia: J. B. Lip-
pincott Company, 1954.
Lent, Henry Bolles. From Trees to Paper. New York:
The Macmillan Company, 1952.
Here Come the Trucks. Illustrated by Renee
George. New York: The Macmillan Company, 1954.
I Work on a Newspaper. Photographs by
James B. Walsh. New York: The Macmillan Com-
pany, 1948.
Men at Work in New England. New York:
G. P. Putnam’s Sons, 1956.
Men at Work on the West Coast. New York:
190 - Knowing Children’s Literature
G. P. Putnam's Sons, 1959.
Lewis, Alfred. Treasure in the Andes. Illustrated by
Zhenya Gay. Nashville: Abingdon Press, 1952.
Lewis, Elizabeth. To Beat a Tiger. Decorations by
John Huehnergarth. New York: Holt, Rinehart
and Winston, Inc., 1956.
Young Fu of the Upper Yangtze. Illustrated
by Kurt Wiese. New York: Holt, Rinehart and
Winston, Inc., 1932.
Lewi ton, Mina. Rachel. Pictures by Howard Simon.
New York: Franklin Watts, Inc., 1954.
Rachel and Herman. Pictures by Howard
Simon. New York: Franklin Watts, Inc., 1957.
Liang, Yen. The Skyscraper. Philadelphia: J. B. Lip-
pincott Company, 1958.
Lide, Alice Alison and Margaret Johansen. Magic
Word for Elin. Illustrated by Cheslie D ’Andrea.
Nashville: Abingdon Press, 1958.
Lindquist, Willis. Alaska , the Forty-ninth State. Il-
lustrated by P. A. Hutchinson. New York: Whittle-
sey House, 1959.
Burma Boy. Illustrated by Nicolas Mordvinov.
New York: Whittlesey House, 1952.
Liu, Beatrice. Little Wu and the Watermelons. Illus-
trated by Graham Peck. Chicago: Follett Publish-
ing Company, 1954.
Lobsenz, Norman. First Book of West Germany. New
York: Franklin Watts, Inc., 1959.
Louden, Claire and George (authors-illustrators) .
Rain in the Winds. New York: Charles Scribner’s
Sons, 1953.
Mason, Margaret and Charles. How Do You Build a
House? Illustrated by Jon Nielsen. New York: Ster-
ling Publishing Co., Inc., 1953.
Maurois, Andr£. The French Boy. Photographs by
Gerald Maurois. New York: Sterling Publishing
Co., Inc., n. d.
Mauzey, Merritt (author-illustrator) . Oilfield Boy.
New York: Abelard-Schuman, Limited, 1957.
McClintock, Marshall. The Story of New England.
Lithographs by C. H. DeWitt. New York: Harper
& Brothers, 1941.
McCloskey, Robert (author-illustrator) . Homer Price.
New York: The Viking Press, Inc., 1943.
Time of Wonder. New York: The Viking Press,
Inc., 1957.
McCracken, Harold. The Story of Alaska. Illustrated
by Earl Oliver Hurst. Garden City, N. Y.: Garden
City Books, 1956.
McNeer, May Yonge. The Story of Florida. Litho-
graphs by C. H. DeWitt. New York: Harper &
Brothers, 1947.
Mead, Margaret. People and Places. Illustrated by
W. L. Mars and Jan Faerservis and with photo-
graphs. Cleveland: World Publishing Company,
1959.
Mears, Helen. The First Book of Japan. Illustrated
by Kathleen Elgin. New York: Franklin Watts, Inc.,
1953.
Miles, Betty. A House for Everyone. Illustrated by Jo
Lowrey. New York: Alfred A. Knopf, Inc., 1958.
What Is the World? Illustrated by Remy
Charlip. New York: Alfred A. Knopf, Inc., 1958.
Mirsky, Reba Paeff. Thirty-one Brothers and Sisters.
Illustrated by W. T. Mars. Chicago: Wilcox & Fol-
lett Company, 1952.
Morrow, Elizabeth. The Painted Pig. Illustrated by
Ren£ D’Harnoncourt. New York: Alfred A. Knopf,
Inc., 1930.
Nathan, Adele. The Building of the First Transcon-
tinental Railroad. Illustrated by Edward A. Wilson.
New York: Random House, Inc., 1950.
Nazaroff, Alexander. The Land of the Russian Peo-
ple: Revised Edition. Philadelphia: J. B. Lippin-
cott Company, 1953.
Neurath, Marie. The Wonder World of Land and
Water. New York: Lothrop, Lee and Shepard Co.,
Inc., 1958.
Nevil, Susan R. (author-illustrator) . Picture Story
of the Middle East. New York: David McKay Com-
pany, Inc., 1956.
Nighbert, Esther. The True Book of Cloth. Illus-
trated by Chauncey Maltman. Chicago: Childrens
Press, Inc., 1955.
Norling, Josephine and Ernest. Pogo’s Fishing Trip.
New York: Holt, Rinehart and Winston, Inc., 1942.
Pogo’s House. New York: Holt, Rinehart and
Winston, Inc., 1941.
Pogo’s Lamb. New York: Holt, Rinehart and
Winston, Inc., 1947.
Pogo's Mining Trip. New York: Holt, Rine-
hart and Winston, Inc., 1945.
Pogo’s Oil Well. New York: Holt, Rinehart
and Winston, Inc, 1955.
O’Donnell, Mabel and Elizabeth Bloss. Film Story
Books. 8 volumes. Evanston, 111.: Row, Peterson &
Co., 1951.
Olds, Elizabeth (author-illustrator) . Deep Treasure.
Boston: Houghton Mifflin Company, 1958.
O’Neill, Hester. Picture Story of Norway. Illustrated
by Ursula Koering. New York: David McKay Com-
pany, 1951.
Osmond, Edward (author-illustrator) . Houses. New
York: The Macmillan Company, 1956.
Paton, Alan. Land and People of South Africa. Phila-
delphia: J. B. Lippincott Company, 1955.
Pease, Josephine. This Is the World. Pictures by
Esther Friend. Skokie, 111.; Rand McNally & Com-
pany, 1944.
Peattie, Rod and Lisa. The City. Illustrated by Benzi
Tagawa. New York: Abelard-Schuman, Limited,
1952.
Children Seek Information about People and Places - 191
Proctor, George L. Young Traveler in Sweden. Edited
by Frances Clarke Sayers. New York: E. P. Dutton
& Co., Inc., 1953.
Quinn, Vernon. Picture Map Geography of Africa.
Illustrated by Charles E. Pont. Philadelphia: J. B.
Lippincott Company, 1952.
Picture Map Geography of Canada and Alaska .
Drawings and maps by DaOsimo. Revised. Phila-
delphia: J. B. Lippincott Company, 1954.
Raman, T. A. Let’s Read About India. Grand Rapids,
Mich.: The Fideler Company, 1950.
Rankin, Louise. Daughter of the Mountain. Illustrated
by Kurt Wiese. New York: The Viking Press, Inc.,
1948.
Riedman, Sarah R. Let’s Take a Trip to a Cement
Plant. New York: Abelard-Schuman, Limited, 1959.
Riwkin-Brick, Anna. Eva Visits Noriko-San. Text by
Astrid Lindgren. New York: The Macmillan Com-
pany, 1957.
Sia Lives on Kilimanjaro. Text by Astrid Lind-
gren. New York: The Macmillan Company, 1958.
and Astrid Lindgren (authors-illustrators) . My
Swedish Cousins. New York: The Macmillan Com-
pany, 1959.
Robertson, Keith. Henry Reed, Inc. Illustrated by
Robert McCloskey. New York: The Viking Press,
Inc., 1959.
Rosen f eld, Bernard. Let’s Go to the Capitol. Illus-
trated by Gustav Schrotter. New York: G. P. Put-
nam’s Sons, 1959.
Let’s Go to the White House. Illustrated by
Terry Robinson. New York: G. P. Putnam's Sons,
1959.
Ross, Patricia Fent. Made in Mexico. Drawings by
Carlos Meride. New York: Alfred A. Knopf, Inc.,
1952.
Sasek, Miroslav (author-illustrator). This Is Loiidon.
New York: The Macmillan Company, 1959.
This Is Paris. New York: The Macmillan Com-
pany, 1959.
This Is Rome. New York: The Macmillan
Company, 1960.
Savage, Katherine. People and Power: The Story of
Three Nations. New York: Henry Z. Walck, Inc.,
1959.
Saxon, Gladys R. All Around the Land. Illustrated
by Jo Polseno. New York: Holt, Rinehart and Win-
ston, Inc., 1958.
Scarry, Patsy. Fun Around the World. Morristown,
N. J.: Silver Burdett Company, 1957.
Schools Around the World. Morristown, N. J.:
Silver Burdett Company, 1957.
Schlein, Miriam. City Boy, Country Boy. Illustrated
by Katherine Evans. Chicago: Childrens Press, 1955.
Schneider, Herman and Nina. Follow the Sunset.
Pictures by Lucille Corcos. New York: Doubleday
& Company, Inc., 1952.
Seredy, Kate (author-illustrator). The Good Master .
New York: The Viking Press, Inc., 1935.
Singh, R. Lai and Eloise Lownsbery. Gift of the
Forest. Illustrated by Anne Vaughn. New York:
Longmans, Green & Company, Inc., 1942.
Snyder, Louis. The First Book of the Soviet Union.
New York: Franklin Watts, Inc., 1959.
Sondergard, Arensa. My First Geography of the
Americas. Illustrated by Fritz Kredel. Boston: Lit-
tle, Brown & Company, 1942.
My First Geography of the Pacific. Illustrated
by Cornelis. Boston: Little, Brown & Company,
1944.
Sootin, Laura. Let’s Go to a Bank. Illustrated by
Barbara Corrigan. New York: G. P. Putnam’s Sons,
1957.
Spencer, Cornelia. Made in China. Illustrated by
Kurt Wiese. New York: Alfred A. Knopf, Inc., 1943.
Made in India. Illustrated by Allen Lewis.
New York: Alfred A. Knopf, Inc., 1953.
Spencer, William. Land and People of Turkey. Phila-
delphia: J. B. Lippincott Company, 1958.
Spyri, Johanna. Heidi. Illustrated by Agnes Tait.
Philadelphia: J. B. Lippincott Company, 1880, 1948.
Stefansson, Evelyn (author- illustrator) . Here Is the
Far North. New York: Charles Scribner’s Sons, 1957.
Steichen, Edward. The Family of Man. The photo-
graphic exhibition for the Museum of Modern Art.
New York: Simon & Schuster, Inc., 1955.
Sterling, Dorothy. Wall Street, the Story of the Stock
Exchange. Photographs by Myron Ehrenberg. New
York: Doubleday & Company, Inc., 1955.
Stoddard, Edward. The First Book of Television.
Pictures by Laszlo Roth. New York: Franklin Watts,
Inc., 1955.
Strong, Anna. Peoples of the USSR. Illustrated with
photographs. New York: The Macmillan Company,
1944.
Stuart, Jesse. The Beatinest Boy. Illustrated by Rob-
ert Henneberger. New York: Whittlesey House,
1953.
Sucksdorf, Astrid (author-photographer) . Chendru,
the Boy and the Tiger. English version by William
Sansom. New York: Harcourt, Brace & Company,
1960.
Sutton, Felix. The Big Book of Cars. Pictures by
Tom Hill. New York: Grosset & Dunlap, Inc., 1954.
Tatham, Campbell (Mary Elting) . First Book of
Trucks. Pictures by Jeanne Bendick. New York:
Franklin Watts, Inc., 1952.
Tensen, Ruth M. Come to the City. Photographs by
Henry Staehle. Drawings by Phyllis Groff. Chicago:
The Reilly & Lee Company, 1951.
Thorne-Thomsen, Gudrun. In Norway. Illustrated by
Eyvind Earle. New York: The Viking Press, Inc.,
1948.
Tolbloom, Wanda. People of the Snow. Maps by
192 - Knowing Children’ s Literature
Donald Pitcher. New York: Coward-McCann, Inc.,
1956 .
Toor, Frances. Made in Italy. Illustrated by Earle
Goodenow. New York: Alfred A. Knopf, Inc., 1957.
Turner, Mina. Town Meeting Means Me. Illustrated
by Lloyd Coe. Boston: Houghton Mifflin Company,
1951.
Turngren, Annette. Flaxen Braids. Revised Edition.
Illustrated by Polly Jackson. Englewood Cliffs, N. J.:
Prentice- Hall, Inc., 1959.
Uchida, Yoshika. Takao and Grandfather’s Sword.
Illustrated by William M. Hutchinson. New York:
Harcourt, Brace 8c Company, 1958.
United Nations Department of Public Information.
A Garden We Planted Together. New York: Whit-
tlesey House, 1952.
Unnerstad, Edith. The Spettecake Holiday. Illustrated
by Iben Clante. New York: The Macmillan Com-
pany, 1958.
Vandivert, William and Rita. Young Russia: Children
of the USSR at Work and at Play. Photography by
William Vandivert. New York: Dodd, Mead Sc Com-
pany, 1960.
Wagner, Ruth H. and Ivah Green. Put Democracy to
Work. New York: Abelard-Schuman Limited, 1952.
Wall, Gertrude Wallace. Gifts from the Forest. Photo-
graphs by John Calvin Towsley. New York: Charles
Scribner’s Sons, 1952.
Gifts from the Grove. Photographs by John
Calvin Towsley, et al. New York: Charles Scribner’s
Sons, 1955.
Wallace, John A. Getting to Know the USSR. Illus-
trated by Don Lambo. New York: Coward-McCann,
Inc., 1959.
Webb, Nancy and Jean Francis. Hawaiian Islands. Il-
lustrated by Isami Kashiwagi. New York: The Vik-
ing Press, Inc., 1956.
Webber, Irma. Thanks to Trees: The Story of Their
Use and Conservation. New York: W. R. Scott, Inc.,
1952.
Wells, Robert. What Does a Jet Pilot Do? Photographs
by Harvey Lippman. New York: Dodd, Mead Sc
Company, 1959.
Werner, Elsa. The Golden Geography. Pictures by
Cornelius DeWitt. New York: Simon & Schuster,
Inc., 1952.
Houses. Illustrated by Tibor Gergely. New
York: Golden Press, 1955.
White, Anne Terry. All About the Great Rivers of the
World. Illustrated by Kurt Wiese. New York: Ran-
dom House, Inc., 1957.
Whitney, Phyllis A. The Secret of the Samurai Sword.
Philadelphia: Westminster Press, 1958.
Witty, Paul and Julilly Kohler. You and the Consti-
tution of the United States. Pictures by Lois Fisher.
Chicago: Childrens Press, 1948.
Wohlrabe, Raymond and Warner Krusch. Land and
People of Germany. Philadelphia: J. B. Lippincott
Company, 1957.
Wolfe, Louis. Let’s Go to a City Hall. Illustrated by
Terry Robinson. New York: G.' P. Putnam’s Sons,
1959.
Yashima, Taro (author-illustrator) . The Village Tree.
New York: The Viking Press, Inc., 1953.
Yates, Elizabeth. Rainbow Round the World. Illus-
trated by Betty Alden. Endpaper drawings by Dick
Gnnghuis. Indianapolis: The Bobbs-Merrill Com-
pany, 1954.
Zaffo, George J. (author-illustrator) . The Big Book of
Real Trucks. New York: Grossett & Dunlap, Inc.,
1950.
Building Your Superhighways. Garden City,
N. Y.: Garden City Books, 1957.
6 -Children Identify with Their
Historical Heritage
Mac was waiting at the door when Miss
Harper came down the hall to open up the
school library. He was small for a ten-year-
old, but what he lacked in size was compen-
sated for by his sparkling personality. He
gave Miss Harper one of his disarming smiles
and said, “Golly, I’m glad you’re here. Today
is the day , isn’t it?’’ Miss Harper laughed
and nodded. She had no difficulty under-
standing his question; he’d been down to the
library every day last week to see when the
service committee would be finished prepar-
ing the new books for circulation. She had
promised him that they could be checked
out today. He literally bolted to the shelf of
new books and looked eagerly through the
titles until he came to the one he wanted.
With a sigh of relief he wrote his name on
the card and stamped on the due date. He
looked up at Miss Harper and his big brown
eyes were shining with accomplishment,
“Well, I got it before Jim did. Guess he
didn’t think I’d get up early and catch a ride
with Dave and his Dad — but it is worth it.
You know, Miss Harper, sometimes I’m
afraid to start another book by Steele for
fear it won’t be as good as the last one. Guess
I’ve read almost all he’s ever written — funny,
and I didn’t use to like books about the
olden days at all.’’
Miss Harper watched him settle himself
in one of the large comfortable chairs in the
reading section of the library. Miss Harper
knew she’d probably have to remind him
when the last bell rang; absorbed in reading,
he sometimes didn’t hear it. She thought of
his last remark “Funny, and I didn’t use to
like books about the olden days at all.” She
could remember him when he didn’t like
books of any kind. He had loved story hours.
She could remember him from first grade
looking up at her from under the glasses
which he had had to wear when he was
younger — his eyes had been slightly crossed.
194 - Knowing Children's Literature
She recalled how disturbed she was that any
child who loved stories so much should have
difficulty learning to read. He could never
settle down with a book when his class came
down to the library for recreational reading
in second and third grade. Then he'd been
assigned Lucille Harris for his fourth-grade
teacher. Lucille had had more success with
nonreaders than any other teacher she knew;
she always thought that it was because
Lucille loved books so much herself. Anyway,
she made special trips to the library with
four boys who were her “late bloomers'* as
she called them. They selected some of the
easy informational books to read to each
other; then she weaned them on some of the
books by Bulla, and The Childhood of
Famous American Series. Mac had wanted
to read just the informational books and so
she had let him. But in connection with their
study of the Westward Movement, Miss
Harper had read them Edmonds' Matchlock
Gun and told them it was a true story. Mac
checked it out four different times and that
had been the beginning of his interest in
reading and “the olden days.’’ Mac did every-
thing with intensity; both Miss Harper and
his fifth-grade teacher hoped his interest in
reading became permanent.
Children are creatures of the here and
now. They have not developed an appreci-
ation for their historical heritage. Their time
concepts are inadequate and inaccurate.
“The olden days" are apt to be “back when
there wasn't any television." For young chil-
dren, understanding of the time between the
arrival of Columbus and the Pilgrims at the
new world is in direct proportion to the
calendar time between Columbus Day and
Thanksgiving! The development of the un-
derstanding of time concepts is a gradual
growth process which extends over a period
of several years. The placing of events in
chronological order requires a mature level
of dealing with time and is not expected of
young children. Oakden and Sturt 1 found that
1 E. C. Oakden and M. Sturt, “Development of the
Knowledge of Time in Children/’ British Journal of
Psychology, 12:309-336, April, 1922.
the power to think of the past as different
from the present does not seem to develop in
children before eight years of age. It was also
observed that periods of history were not
understood until the age of eleven years.
More recent studies 2 have tended to substan-
tiate these findings.
Children gradually establish their own
frame of reference for time relationships by
relating past events to their own personal
experiences. Teachers should help children
see their present place in time as part of a
living past. They should help them under-
stand that the way of life today is a result
of what people did in the past, and that the
present will influence the way people live in
the future. The study of history can be the
vantage point for observing the panoramic
view of all that has happened to mankind.
The study of history can also provide a vista
of the future.
Man would not be man without his his-
torical heritage; everything he does is built
on the lives and thoughts of people he never
saw or knew. Homes, food, clothing, lan-
guage, schools, beliefs, songs, games, all have
developed from contributions of former gen-
erations. Man is the only creature who can
build on the past, who can profit from the
experiences of others, and begin where others
left off. The wisdom of the ages may be ac-
cumulated, refined, and transmitted. Korzyb-
ski 3 has identified this time-binding capacity
of man to utilize and profit by the past as
uniquely human.
The past can be recreated as scenes, char-
acters, and experiences are reconstructed in
man’s imagination through other men's
words. It makes little difference if these
words were written this year or two hundred
years ago. Through books, man may com-
2 Frederick Pistor, “How Time Concepts Are Ac-
quired by Children,” Educational Method , 20:107-
112, November, 1940.
Alvin W. Schindler, et al. “Developing a Sense of
Time and Chronology,” Skills in the Social Studies,
Twenty-fourth Yearbook. Washington, D. C.: Na-
tional Council for the Social Studies, 1953.
8 Alfred Korzybski, Manhood of Humanity. New
York: E. P. Dutton & Company, 1921. p. 186.
Children Identify with Their Historical Heritage - 195
municate with the thoughts of past genera-
tions and influence the thoughts of future
generations. Thomas Carlyle once said: “In
books lies the soul of the whole Past Time:
the articulate audible voice of the Past, when
the body and material substance of it has
altogether vanished like a dream/'
Even though children have difficulty estab-
lishing exact time concepts, they can develop
an appreciation of their historical heritage.
Enthusiastic teachers can make the past live
for children. Boys and girls also need a wide
variety of materials to create interest. Al-
though history textbooks have been im-
proved in recent years, no single text can
ever give children an appreciation and feel-
ing for their historical heritage. Children's
literature provides three types of books
which enrich and extend children's study
of history. These books include factual pre-
sentations of history, biographies of great
men of the past, and historical fiction.
FACTUAL BOOKS OF HISTORY
In the past ten years, the number of inter-
esting, well-written factual books of history
has increased. Prior to this time, most factual
presentations were camouflaged by the pro-
tective coloring of a story line. It was as-
sumed that children did not want historical
information presented in a straight factual
manner. Later, children’s acceptance and de-
mand for informational books of science led
publishers to experiment with this type of
book in the social studies area, including
history. There are still more biographies and
books of historical fiction than factual books
of history for children. This distribution
may be changed as more and better factual
presentations of history are published.
Criteria for Factual Books of History
The criteria for informational books of his-
tory differ little from those presented in
Chapter 4, page 132. Informational books
must be accurate and authentic. Facts must
be presented clearly in both text and illustra-
tions. The books should be well-organized
so that they may be used for reference
easily. Paragraph headings and an index are
useful tools. The style of writing should be
interesting and informational. Children dis-
like books that “talk down'' to them. Infor-
mational books should contain facts — not so
many as to be encyclopedic, but more than
the student already knows. The well-written
factual book will answer a child's questions,
but it will pose new ones too. His natural
curiosity should be fed, but not satiated; for
wonder and the curious mind are necessary
ingredients for the development of wisdom.
Factual books in history must be objective
in their reporting. Where there are two sides
to a question or event, both sides deserve a
hearing. Children need to learn of mankind’s
accomplishments and mistakes. Finally, fac-
tual books can vitalize history, they can re-
create the terror and temper of the times as
vividly as fiction. 4 They can give children a
sense of their place in the continuity of the
stream of life.
World History
SURVEY BOOKS
A few books attempt to give children a sur-
vey of the important people, places and
events in the history of the world. Hendrik
Willem Van Loon's The Story of Mankind
was the first book to interpret world history
to children in an interesting and informa-
tional fashion. This book, a pioneer in the
field, received the first Newbery Award in
1922. A new, enlarged edition was published
in 1951; an indication that this story is as
interesting to read today as it ever was. Van
Loon was the first children's author to pre-
sent factual information with humor and
excitement. Others have followed the pattern
which he was courageous enough to begin;
few have been as successful. Peattie's A
Child's Story of the World tells the history
4 See Historical Fiction, pp. 221-230.
196 - Knowing Children's Literature
of mankind from the cave man through the
first World War. The bold poster-like illus-
trations by Naomi Averill add to the enjoy-
ment of this book. The text is interestingly
written but somewhat long. Parts of it might
be read to children by their teachers.
Dreany’s A Child's Book of Mankind
Through the Ages presents a pictorial sur-
vey of the history of man from the stone age
to the development of the United Nations.
The text is limited and sometimes over-
simplified. For example, his description of
the middle ages makes no mention of the
role of the church or university in keeping
learning alive, but flatly states: “The early
Middle Ages, or dark ages, was a time of
ignorance, cruelty, and disorder.” 5 The estab-
lishment of the United States as a free nation
is not included, and the reader is asked to
leap from the exploration of the new world
to the Westward Movement and then to the
development of world trade. The parent or
teacher using this book would have to pro-
vide the needed interpolation.
Watson’s The Golden History of the
World is for older children and has a more
detailed text. The colored illustrations by
DeWitt illuminate and extend this survey
of world history. Lancelot Hogben edited a
small but interesting book titled How the
World Was Explored. This book covers the
whole story of exploration from the first
people who made bridges and built forts to
the young Norwegians who sailed Kon-Tiki
on an uncharted course across the Pacific.
Children are given the challenge and pro-
phecy of exploration still to come on other
planets, and the book ends with the ringing
question, “What shall we discover next?” An
earlier publication which emphasizes time
relationships is aptly called Pegs of History
and was written by Helen Fish. Based on
important dates in history, this book would
be most useful as a reference book for con-
structing time lines. For example, three dates
are illustrated for the Renaissance period,
“Joseph E. Dreany, A Child*s Book of Mankind
Through the Ages. New York: Maxton Publishers,
Inc., 1955. p. 12 (unpaged) .
namely, 1450, The Gutenberg Book; 1492,
Columbus; and 1517, Luther and the begin-
ning of the Reformation.
Genevieve Foster has made notable and
unique contributions to the interpretation
of history for children. In two books, Birth-
days of Freedom, Book One and Book Two,
she has traced in a graphic story the growth
of freedom from the time when man learned
to use fire to the Fall of Rome. Her second
book begins “On that small remote Roman
Colony of Britain” and brings us thirteen
centuries later to the shores of the new
United States of America. These stories may
be read in the pictures (one for each page),
maps, and large type headings, or they may
be followed more clearly in the text. In most
instances, children will depend upon adults
to use the books with them. These books suc-
ceed in giving children an idea of man’s
search for freedom. In Genevieve Foster’s
own words:
We must understand . . . how, little by little,
laws were gained to secure a few of the rights and
privileges we take as much for granted as the air
we breathe. And then how those laws were broken,
tyrants ruled again, and freedom that had been
won was lost until in some other age and place,
it would be born again.
For freedom has never died. It cannot. An idea
does not die. The idea of freedom lives on for-
ever in the minds of men and when it becomes
strong enough it breaks forth into words and ac-
tions. It shows itself in ever changing ways and
places. Each land and nation has had its heroes
of freedom, its great teachers and prophets, its
anniversaries or birthdays which it celebrates. 6
A horizontal treatment of history is pre-
sented in four other books by Mrs. Foster,
George Washington's World, Abraham Lin-
coln's World, Augustus Caesar's World, and
The World of Captain John Smith: 1580-
1631. Each of these books presents a time
slice of history, a total picture of the world,
historical, religious, cultural, social and eco-
nomic, in relation to the span of one man’s
life. The many illustrations, maps, and
“Genevieve Foster, Birthdays of Freedom, Book
One. New York: Charles Scribner’s Sons, 1952. p. 5
(unpaged) .
AND SOME EVENTS THAT TOOK PLACE BETWEEN 27 AND 1 2 B.C
Text and detailed illustrations present parallel events during the lifetime of one person.
Authentic sketches and explanations show architecture, costume, and artifacts of the
period. From Augustus Caesar's World 44 B.C. to 14 AX>. written and illustrated by
Genevieve Foster. Scribner, 1947.
charts give much information and graph-
ically portray her theme of parallel events.
Each story or event is well-written and could
be read separately from the others. Continu-
ity is given to all episodes by frequent men-
tion of the life of the one man who serves
as the pivotal point of the book. Teachers
will want to read parts of these books to
children; more mature readers will delight
in reading them independently. Two indexes
are included in each book, one for characters
and another general one of nations, places,
and events.
SPECIALIZED BOOKS
With the increased publication of factual
books of history has come a corresponding
increase in the trend toward specialization
of subject matter. Shorter books are being
written about a particular period or event.
Series books, such as The First Books , The
True Books, and the Landmark Books have
recently added titles which are historical in
nature. The majority of these books deal
with American history; a few depict earlier
times and events.
William E. Scheele’s The Cave Hunters is
the story of the migrant Neanderthal tribes
and the Cro-Magnon hunters who conquered
them. Text and dramatic black-and-white
drawings present a picture of the clothing,
customs, and art work of these two groups of
men who lived in southwest Europe some fifty
thousand years ago. Anne Terry White, in
a World Landmark book titled The First
Men in the World, describes the search made
by scientists for the bones of prehistoric man.
She identifies the Neanderthal, the Cro-
Magnon, the Peking Man, and the Java-Ape
Man. She includes a brief discussion of the
198 - Knowing Children's Literature
religious controversy which the discovery of
these prehistoric men precipitated.
Mrs. White has also written an excellent
introduction to the science of archaeology in
her Lost Worlds : Adventures in Archaeology.
This book describes the search for four great
civilizations: Crete, Egypt, Babylonia-Assyria,
and the Maya of Central America. It in-
cludes some excellent photographs. Estelle
Friedman has presented a fascinating ac-
count of the world of archaeology in her
Digging Into Yesterday. All the suspense and
excitement which accompanies every “dig"
is conveyed to the reader in clear and descrip-
tive language. The author re-creates the life
of these ancient peoples as the archaeologists
uncover clues. Children in the middle grades
will be intrigued with the story of the “Curse
of the Pharaohs" — how in seven years after
the discovery of the tomb of Tut-ankh-Amen
over twenty of the group who had first en-
tered his burial chamber died. Mrs. Friedman
tells of the thrilling discovery made by Hein-
rich Schliemann, an amateur archaeologist,
who followed a boyhood dream of finding
ancient Troy. After months of digging he
caught a flash of light. Quickly he told his
wife to send the workmen home and the two
of them continued to dig alone. He held his
breath as he removed “a layer of red ashes
five feet thick ... at last, with a big knife,
he began to unearth golden objects — one
after another. Hastily, without examining
them, he hid them in Sophia’s shawl. The
couple returned to their hut and locked the
door ." 7
An older book by Enid Meadowcroft titled
The Gift of the River: A History of Ancient
Egypt is still enjoyed by middle-grade read-
ers. It includes quotations from original
sources and illustrations from Egyptian ma-
terial. The First Book of Ancient Rome by
C. A. Robinson, Jr. is one of the few recent
books about this culture. It is clearly written
7 Estelle Friedman, Digging into Yesterday. New
York: G. P. Putnam’s Sons, 1958. p. 139.
Action in illustrations may help
children appreciate various as-
pects of life in an historical pe-
riod. From The First Book of
Medieval Man by Donald Sobol.
Illustrated by Lili Rethi. Frank-
lin Watts, 1959.
The pleasures of falconry were pursued by men and women alike
Children Identify with Their Historical Heritage - 199
and illustrated and gives a definite feeling
for the people and the times. Olivia Coolidge
has written two excellent books titled Egyp-
tian Adventures and Roman People . Both of
these require junior high school reading
ability, however. This level of reading is also
necessary for the enjoyment of Geoffrey
Household's The Exploits of Xenophon and
John Gunther’s Alexander the Great. All
these books may be profitably read to chil-
dren by their teachers.
Donald J. Sobol has written a clear, inter-
esting text for The First Book of Medieval
Man. Excellent pictures help to describe the
pattern and details of life in England during
the Middle Ages. As the Feudal System is
explained, new words are given in italics
and then defined in the context. The book
is indexed for easy reference. The accom-
plishments of the period are summed up in
the two statements that the man who came
at the opening of the period lived by force;
the man who came at the close, lived by law
and order. John Lewellen in The True Book
of Knights has presented much information
in a simple, readable fashion. The illustra-
tions by Frances Eckart portray many details
concerning the various machines for war, the
interiors of castles, and the armor of the
knights. Boys in the third and fourth grades
will enjoy reading this book independently.
Walter Buehr has written and illustrated
two informative and fascinating books about
the Middle Ages; Knights and Castles and
Feudal Life and The Crusaders. In his text,
he frequently relates the customs of the medi-
eval period to modern life. For example, he
explains the laws of the feudal days in the
following words:
Now we are all subject to and protected by the
same laws. It would be unthinkable for Chicago
to declare war on Milwaukee over a piece of for-
est land, or for the Mayor of St. Louis to collect
tolls from all Mississippi ships carrying freight by
his city
Yet such things happened every day in Medieval
Europe and they were accepted as proper. 8
8 Walter Buehr, Knights and Castles and Feudal
Life. New York: G. P. Putnam’s Sons, 1957. p. 8.
Buehr paints a vivid description of the
peasant’s life of drudgery. There is specific
information in this book on such matters as
the cost and weight of a knight’s armor
($12,000 at today’s values), the plan for a
siege, how a castle was laid out, and how the
people lived and worked. A glossary of terms
would be very useful in this book. While
most words are explained in context, such
words as suzerain, machiolations, liege, fief,
and fortalice need distinct definitions.
Buehr’s description of The Crusaders is
equally vivid and realistic. He answers such
questions as: what were the forces which
motivated the crusaders, how were battles
fought, and finally when it was all over what
did the Crusades accomplish for the world?
The World Landmark book by Anthony
West titled The Crusaders attempts to an-
swer these questions also. It does not seem
to capture the fervor and excitement of this
movement as does the book by Buehr. Older
children who are studying the Medieval
Period may want the more detailed informa-
tion which can be found in Fon Boardman's
book, Castles. Boardman includes plans and
photographs of specific castles in the British
Islands and Europe along with some of their
history.
The emergence of the independent nations
of the modern world is frequently described
in books about individual countries. For ex-
ample, The First Book of the Soviet Union
by Snyder traces the development of the his-
tory of that country. These books about indi-
vidual countries were reviewed in Chapter 5.
American History
SURVEY BOOKS
Many authors have written books which are
historical surveys of the United States. Fran-
ces Cavanah, in her book, Our Country's
Stoiy, has written a fascinating introduction
to American history for boys and girls in the
middle grades. The colored illustrations by
Janice Holland seem to flow and illumine
the text. The reader can almost feel the
movement of the wagon trains and the flat-
boats. One senses the excitement of Paul
Dramatic pen and ink draw-
ings vividly re-create the pur-
chase of Manhattan Island by
the Dutch. From America Is
Bom by Gerald Johnson. Il-
lustrated by Leonard Everett
Fisher. Morrow, 1960.
Revere’s ride as he dashes into the darkness
leaving behind the brilliant splashes of lights
in the homes of the aroused citizenry. Al-
though published in 1945, this is still a fine
book.
Two titles in The First Book series deal
with American history, namely, Heal’s The
First Book of America and Commager’s
The First Book of American History. Heal's
book includes more discussion of the early
explorers and the Indians than does the lat-
ter. Commager’s text is exciting from the
very opening sentence, “Imagine discovering
a new world!” This book is illustrated by
dramatic black-and-white, and ochre-and-
white drawings by Leonard Everett Fisher, a
200
name which is associated with some of the
best illustrating in history books today. Com-
mager traces the history of America from its
discovery through the Second World War.
He emphasizes that history is unfinished
business, however, in his final words of the
book:
America had come a long way — but there was
still a long way to go. For freedom is never com-
pletely won, but must be won anew by each gen-
eration. And freedom means not only freedom
from tyranny or slavery, but freedom to grow up
in a world of peace. So there is still plenty to do.
All that you have read is merely preparation
for the future.
Children Identify with Their Historical Heritage - 201
There is no reason why that future should not
be even more wonderful than the past.
But that is up to you. 9
Gerald W. Johnson has recently completed
two of a three-volume work which he is
writing for his grandson, Peter, to help him
know what it means to be an American.
Written in beautifully clear prose, these
books are as exciting as their virile black
and white illustrations by Leonard Everett
Fisher. There is clear, objective reporting in
both America Is Born and America Grows
Up. Johnson tells what people did and ex-
plains how they felt about it. Above all, he
captures the spirit of what it means to be an
American, that it is in some ways better and
in some ways worse to be an American than
to be a man of any other nationality. He
emphasizes that the American story is a con-
tinued story that reaches far back into the
past and includes the good and bad. “Part
of the story is very fine, and other parts are
very bad; but they all belong to it, and if
you leave out the bad parts you never under-
stand it all. Yet you must understand it if
you are to make your part one of the fine
parts.” 10
The Rainbow Book of Atnerican Histoiy
by Earl S. Miers is a large, well-illustrated
chronological history from the Norsemen to
the Atomic Age. Each story is accompanied
by a forceful illustration by James Daugh-
erty. This is a comprehensive volume. The
interesting stories could be read individually,
and include biographical sketches and fasci-
nating descriptions of the Underground
Railroad, The Dame Schools and Blab
Schools, the dramatic story of Christmas at
Bonner Lake, and the stirring report of the
Chicago Fire. The book is well indexed and
would be an excellent classroom reference.
The Golden Book of America , adapted by
•Henry Steele Commager, The First Book of
American History. Pictures by Leonard Everett
Fisher. New York: Franklin Watts, Inc., 1957. p. 62.
30 Gerald Johnson, (In an introductory letter to
Peter) America Is Born. Illustrated by Leonard
Everett Fisher. New York: William Morrow & Com-
pany, Inc., 1958. p. viii and ix.
Irwin Shapiro from the American Heritage
Magazine, is a miscellany of Americana in-
cluding both legend and fact. Boys would
particularly enjoy the wonderful colored
photographs of old maps, ship pictures, and
paintings. An index provides ready reference
to such topics as the bicycle crazes and Daniel
Boone. Descriptions of old valentines and the
American country store give a flavor of the
“olden days” which will intrigue many older
boys and girls.
A unique contribution to the field of
American history for children is Robert Law-
son’s Watchwords of Liberty. By using more
than fifty famous quotations, the author has
told the story of our nation’s struggle and
development. Lawson has written brief, vivid
stories of the circumstances surrounding the
spoken words and illustrated them with his
usual superb black-and-white pen sketches.
The survey book in history gives the child
an overall view of historical development.
He will turn to specialized books for deeper
knowledge of the historical period which
interests him.
SPECIALIZED BOOKS
Children’s needs for specific information
have led to the publication of many books
which deal with one aspect of American his-
tory. These books treat particular groups of
people, periods, and movements.
Indians Stories of the Indians have always
captured the imaginations of young America.
Authentic, factual accounts of the way these
early peoples lived are equally interesting
to boys and girls. Elizabeth Baity has written
a comprehensive description of the civiliza-
tions of the inhabitants of this continent in
her book Americans Before Columbus . Draw-
ings by C. B. Falls and many photographs
of buildings and artifacts illuminate the
author’s detailed descriptions of the customs,
costumes, the arts and crafts, and architecture
characteristic of the various cultural patterns
which developed in the Americas. Mature
readers and teachers will want to use this
book for a reference. Teachers could read
202 - Knowing Children’s Literature
the vivid stories which are interspersed
among the direct factual accounts of Indians
in both Americas.
There are several detailed reference books
concerning the American Indian. Authentic
research is presented in the book by Edwin
Tunis titled Indians. The life, clothes, food,
homes, and customs of the many different
tribes are described in text and accurate
illustrations. William Moyers and David C.
Cooke’s book, Famous Indian Tribes also
presents accurate information on the five
different types of Indians found in North
America. The last chapter describes the loca-
tion of the Indian tribes today. Children
frequently study the early life of the Indians
without reference to their present day status.
This book and one by Fletcher called The
American Indian includes the history of the
Indians plus their long struggle for recogni-
tion and citizenship in the land which was
originally theirs. Fletcher’s coverage of the
different tribes and their origin is excellent.
The Hollings have written a readable but
comprehensive volume. The Book of Indians.
The authentic subject matter is written in
narrative form. Six full-page colored illus-
trations and many border pictures extend
information given in the text. All these
books are indexed and would be useful for
both students and teachers.
Different publishers’ series have books
about the Indians. The True Book of Indi-
ans by Teri Martini is one of the easiest. This
presents a simple discussion of five different
tribes, the Northwest Indians, the Plains
Indians, the Pueblos, the Seminoles, and the
Iroquois. Colored and black and white pic-
tures illustrate their homes, the manner in
which they obtained food, their dress, and
their recreational activities. Children in third
and fourth grade could easily read this book.
The First Book series includes The First
Book of Indians by Brewster and The First
Book of the Indian Wars by Morris. They pre-
sent their information in the straightforward
factual manner that is characteristic of this
excellent series. Anna Pistorius has written
a book about Indians titled What Indian Is
It? Following her usual format of asking
questions and then giving brief concise an-
swers, this book gives much information
about different tribes, famous Indians and
unusual customs. The brilliantly colored
illustrations add to its appeal.
Marion Israel has written two very useful
books about specific tribes of.Indians, namely
the Dakotas and the Apaches . She writes in-
terestingly and simply about the Indians’
homes, land, and occupations. She discusses
men’s work, women’s work, and the place of
children and grandparents in these cultures.
In her introduction to the Apaches, she em-
phasizes that Indians today wear clothes like
ours, the children go to schools, and that the
tribe raises and sells cattle. These books are
realistic accounts of different tribes of Indi-
ans, their past and present. Sonia Bleeker, an
anthropologist, has written a series of books
about the various tribes of Indians which
include such titles as The Chippewa Indians,
The Crow Indians, and The Pueblo Indi-
ans. These present semifictionalized stories
against a rich, authentic background. The
last chapter is factual and includes the his-
tory of the tribe. She objectively describes
both the good and cruel treatment of these
Indians by the white man. Her books are in-
dexed and would be more appropriate read-
ing for children from the fifth grade up. The
books by Marion Israel are for younger chil-
dren from third through fifth grade.
Robert Hofsinde has written several books
about special aspects of the life of the Indi-
ans; they include Indian Sign Language, In-
dian Games and Crafts, Indian Beadwork,
Indian Picture Writing, The Indian and His
Horse, and The Indian's Secret World . These
books have a special appeal for boys who are
interested in Indian lore, crafts, and codes. In
all of his writings, Hofsinde insists upon au-
thenticity and less “blood and thunder’’ in
the illustrations as well as the text.
Explorers The majority of books for chil-
dren which relate stories of the explorations
of the new world are biographies. (See pages
209-2 1 5.) Roger Duvoisin has written and illus-
Children Identify with Their Historical Heritage - 203
trated a book about the discovery of America
titled And There Was America. In simple
text, the author tells of the early explorers
from Leif Ericson to the early colonists of
Plymouth and Jamestown. Alice Dalgliesh
has covered much of the same period in her
excellent book, America Begins: The Story
of the Finding of the New World. The many
illustrations by Lois Maloy add to the at-
tractiveness of this presentation. Johanna
Johnston has written a large and colorful
book about the Vikings’ explorations. Both
text and illustrations provide details of cos-
tumes, ships, and equipment. Children will
enjoy this exciting description of these little-
known explorers.
Colonists There are many books which pre-
sent slightly fictionalized but accurate stories
of the Pilgrims. With simplicity and dignity
Alice Dalgliesh recounts the events that led
to the founding of Plymouth and the cele-
bration of the first Thanksgiving. Helen
Sewell’s simple, stylized drawings make this
book. The Thanksgiving Story, one which
deserves to be shared with all children from
seven years of age and up. Two books by
Hays, Christmas on the Mayflower and Pil-
grim Thanksgiving, are enjoyed by this same
age group. Weisgard’s simple and attractive
illustrations enrich the text. Meadowcroft’s
book, The First Year tells of the hardships
of these Pilgrims in a way that makes them
very real people. Her description of the in-
terior of the ship’s cabin would help present-
day children identify with the feeling, sound,
and smell of the Mayflower.
It was almost dark in the cabin. The little ship
still rolled and tossed. It was not yet safe to light
the oil lamps or the candles.
All day the ship had been thrown about by the
great waves. Everything in the cabin was upset.
Boxes and cases would not stay in place. They
slid back and forth across the cabin floor with
each toss of the ship.
Some of the littlest children cried with fear.
Many of them had been fastened in their bunks
so that they would not be hurt by the sliding
boxes, or be thrown to the floor when the ship
pitched.
The older boys and girls took care of the
younger ones as they sat on benches at the long
table in the center of the room and told each
other stories.
Many of the women lay in their bunks too ill
to move. Others who were well enough tried to
care for them. . . . n
The Pilgrims do not seem as real in Mil-
dred Comfort’s Children of the Mayflower,
but the reader does get a picture of life in
these hard times. James Daugherty has writ-
ten a Landmark Book titled The Landing of
the Pilgrims . This is a well-written, exciting
story for older boys and girls.
Mildred Comfort has also written a book
called Children of the Colonies . In this story
she presents the life of one family who live
on a large plantation in Virginia. There is
no plot, but continuity is given to the story
in the anticipation and arrival of a new
tutor for the children of the family. Informa-
tion about the other colonies is given as
Robin takes a trip to New York and Phila-
delphia. The conversation in this book is
natural and might provide the basis for some
creative dramatization.
The First Book of the Early Settlers by
Louise Dickinson Rich describes in realistic
terms the early settlements of Plymouth,
New Amsterdam, Delaware, and Jamestown.
There is no mincing of words in Mrs. Rich's
vivid telling of the hardships faced by the
colonists at Jamestown:
... As the days grew shorter and colder, food
became more and more scarce. They ate acorns,
nuts, roots, fruits, whatever they could find. Then
they ate the dogs. Then they caught frogs and
snakes and toads and ate them.
It was what has become known as the “Starving
Time," and starve they really did. Jamestown be-
came a settlement of walking skeletons and scare-
crows, of bundles of skin and bones and rags,
hardly able to crawl in and out of their miserable
hovels. When Smith left, there had been over five
hundred people in the colony. By spring only
about sixty of them were alive . 12
” Enid La Monte Meadowcroft, The First Year.
Revised edition. New York: Thomas Y. Crowell,
1946. p. 17.
18 Louise Dickinson Rich, The First Book of the
Early Settlers. Pictures by Douglas Gorsline. New
York: Franklin Watts, Inc., 1959. p. 17.
204 - Knowing Children 9 s Literature
Edwin Tunis, in his book Colonial Living,
has presented a comprehensive treatment of
the everyday life, clothes, homes, and furni-
ture of the seventeenth and eighteenth cen-
turies. Illustrated with many detailed and
fascinating drawings, this book is more suit-
able for older children.
The stories of two cities are presented in
the Petershams' beautiful book The Silver
Mace, a Story of Williamsburg, and Janice
Holland’s They Built a City: the Story of
Washington, D. C. The Petershams have
pictured the famous buildings of Williams-
burg and the interesting shops along Glou-
cester Street. A clear but brief account of the
growth of the colonial capital is given. The
authentic and beautifully colored pictures
of the Royal Palace, the Capitol, and Bruton
Parish Church, plus the many illustrations
of the shops and the people make this book
one which will be enjoyed by children of all
ages. Children fortunate enough to have
visited the restored city of Williamsburg will
be especially interested in this book. Janice
Holland’s book is a picture book also. The
author tells how the plan of the master
architect, Pierre Charles L’Enfant, was finally
realized in the development of our national
capital. Both the present and the past are
incorporated in this interesting volume.
The story of the Revolution is presented
in Morris’ The First Book of the American
Revolution, Lancaster’s The American Revo -
lution, Bliven’s The American Revolution,
and Cook’s The Golden Book of the Ameri-
can Revolution . The first three books are
well-written, straightforward accounts of
the causes of the Revolution, the action in-
volved, and the characters of the men who
made it. The First Book of the American
Revolution is strikingly illustrated by Leon-
ard Fisher. The Golden Book of the Ameri-
can Revolution is adapted from the Ameri-
can Heritage Press and includes many
excellent pictures of maps, uniforms, various
arms and other museum objects. All these
books require a reading ability of fifth grade
or above.
Henry Steele Commager has analyzed two
great documents of history in his penetrating
and comprehensive books The Great Dec-
laration and The Great Proclamation . These
books clarify the complex issues which sur-
rounded the writing of both of these docu-
ments. By quoting from original letters and
journals, the author places the reader in the
midst of these dramatic times. The books are
difficult to read, however, and would prob-
ably best be interpreted by a teacher.
Pioneers The rigors of pioneer life and the
westward movement are vividly described in
T he First Book of Pioneers by Walter Havig-
hurst and The True Book of Pioneers by
Mabel Harmer. A favorite book of many chil-
dren is Holling C. Holling’s beautiful Tree in
the Trail. This is the story of the events that
occurred under one cottonwood tree which
stood near the Santa Fe Trail. Finally the
tree is struck by lightning and dies. Its wood
is made into an oxen yoke and the tree itself
“takes to the trail." The dramatic, colorful
pictures by Holling C. Holling make this a
handsome book. Frequently classified as fic-
tion, it conveys a wealth of information both
in its text and the many marginal drawings.
The story of the “tree in the trail" lends con-
tinuity to a fascinating factual book. Edith
Dorian and W. N. Wilson have told the story
of how our nation moved West in their book
Trails West and Men Who Made Them .
Exciting and true stories about the Wilder-
ness Road, the National Road, Natchez
Trace, and the Santa Fe Trail are included.
The book ends with the descriptions of the
Oregon Trail and the famous Chisholm
Trail. Detailed black-and-white drawings
and maps add to the informational content
of this book. Children in grades five through
seven will enjoy the many Landmark Books
which describe this period. This series in-
cludes the following titles: The Santa Fe
Trail by Samuel Hopkins Adams, Trappers
and Traders of the Far West by James
Daugherty, T o California by Covered Wagon
by Stewart, The First Overland Mail by
Pinkerton, The California Gold Rush by
McNeer and The Pony Express by Adams.
Children Identify with Their Historical Heritage - 205
Civil War Period Other than biographies,
there are few factual books for children be-
low the fifth grade level on the Civil War
period. Fletcher Pratt has presented a factual
account of this war in his book, The Civil
War. Colonel Red Reeder has written The
Story of the Civil War, concentrating on its
battles and strategies. It is a companion vol-
ume to the author's The Story of the Revo-
lutionary War. Earl Schenck Miers writes
impartially of the attitudes of the North and
South in his book Billy Yank and Johnny
Reb; How They Fought and Made Up. The
author presents the factors which lead to
the conflict simply and clearly. Landmark
Books of the period include such titles as:
BIOGRAPHY
While contemporary children appear to en-
joy factual accounts of their past, they prefer
history when it is told as a living story. The
biographical narrative fulfills this need for
the story “that really happened.” Biography
for children has reached a new high level of
popularity. Intermediate-age children are
seeking identification with others outside
their family circle. They want the approval
of their peers. They are beginning to develop
“crushes” on favorite teachers, camp coun-
selors, sports figures, and movie stars. It is
only natural that their reading choices would
reflect this hero worship. Biographies extend
the child's opportunity for identification,
not only with those who are great today, but
with those who have lived greatly in the
past.
Biography fulfills children's needs for iden-
tification with someone “bigger” than they
are. In this day of mass conformity it may
give them new models of greatness to emu-
late. The reading of biography serves another
function, however, and that is to make the
past live. Carlyle has said that “biography is
the only true history.” By consistent reading
of fine biographies, children will develop an
appreciation and understanding of our heri-
Robert E. Lee and the Road of Honor by
Carter, The Monitor and the Merrimac by
Pratt, Gettysburg by MacKinlay Kan tor and
others.
Twentieth Century Factual books for chil-
dren concerning events in the twentieth cen-
tury are very few indeed. The First Book se-
ries has a title for both World War I and
World War II. These books are for older
children, but they are well done. Editorials
from different papers are quoted, slogans are
described. Critical reading and discussions
could be engendered by reading these books.
Historical fiction will also help children un-
derstand recent events.
tage that may not be obtained in any other
manner.
Publishers have been quick to recognize
and capitalize upon children's interest in
biographies. Series has followed series until
the proliferation of titles overwhelms teach-
ers, children, and parents. We begin to lose
sight of a single biography of outstanding
quality amidst the shelves of mass-produced
ones. Children, and even teachers, ask for
books by the publisher’s trade name or the
color of the cover, rather than by author or
title. There are some fine biographies which
have been written for children; there are
many mediocre ones. The task of the teacher
and librarian is to distinguish between them.
Criteria for Juvenile Biography
The criteria for evaluating biographies for
boys and girls differ somewhat from those
established for juvenile fiction. (See page
22.) They also diverge from generally ac-
cepted patterns for adult biography. The
reader will see certain similarities to these
literary forms, however.
Primarily, children read for recreation and
entertainment. This does not mean that they
do not learn in the process of their reading
206 - Knowing Children's Literature
— they do. But it does mean that when chil-
dren read by choice they usually read for
enjoyment, not education. They read biog-
graphy as they read fiction — for the story or
plot . Children demand events and fast action.
In biography these events become even more
exciting because “they really happened/'
Children want biography to be written as
a story with continuity; they do not want a
collection of facts and dates. The encyclo-
pedia gives them facts in a well-organized
fashion.
CHOICE OF SUBJECT
This demand for events and “happenings"
imposes certain limitations upon the choice
of subjects portrayed in juvenile biography.
Most of the biographies for children are
about the more familiar American figures
of the past, particularly those whose lives
offered the readiest action material. It is
more difficult to interest children in a biog-
raphy of Thomas Jefferson, who made his
greatest contributions to the world of ideas,
than the action-packed story of Daniel Boone
or Kit Carson.
Writers generally accept the principle that
children's biography should be limited to
those subjects whose lives are worthy of
emulation. These may be the famous and
great leaders of our nation such as Washing-
ton, Lincoln, and Jefferson; or they may be
unknown common people who have lived
great lives as represented by the story of
Amos Fortune , Free Man . The lives of Na-
poleon and Hitler have proved interesting
subjects for adult biography but would prob-
ably not be considered appropriate for the
juvenile field. In certain instances, dark
shadows in a person’s life are simply omitted
from biography for children. In writing the
biography of Hamilton, for example, authors
Anna and Russel Crouse did not emphasize
the fact that Alexander Hamilton was an
illegitimate child. They did not deliberately
alter any facts of his life, but simply never
referred to his parents as husband and wife.
Another liberty allowed biographers in the
field of juvenile literature is the presentation
of a portion of the subject's life. Frequently,
the stories will end before tragedy or an un-
savory incident occurs. In writing about
Abraham Lincoln for boys and girls, the
d’Aulaires omitted his assassination and
closed the book with the end of the Civil
War.
CHARACTERIZATION
Characterization of the subject must be true
to life. The reader should have the oppor-
tunity not only to know about him but to
know him as a human being with both short-
comings and virtues. There is danger in over-
dramatizing greatness. The result will be the
story of a hero who never emerges from his
accomplishments as a vibrant living person.
Martin suggests that many of the characters
in biographical series are cut from the same
pattern:
"There is a convention that great men and
women invariably started out as normal and like-
able youngsters, good mixers, and good sports.
There is no inkling of the fact that loneliness
and oddity often bear a dark fruit of their own.
By pushing these books, we muff our best chance
to show children that the awkward child, the poor
athlete, the boy who comes to school in funny
clothes may be the Lincoln or the Thomas Edison
of the future." 13
Biography must not degenerate into mere
eulogy. Neither should it include “debunk-
ing." Worthy subjects should be selected and
so portrayed that they come alive for the
reader. The background of their lives, their
conversations, their thoughts, and their
actions should be presented as faithfully to
the facts as possible.
STYLE
Fictionalized biography is the generally ac-
cepted form for juveniles. This type of biog-
raphy is grounded in thorough research but
allows the author more freedom to dramatize
13 Fran Martin, "Stop Watering Down Biogra-
phies,” Junior Libraries , Volume 6: p. 9, December,
1959.
Children Identify with Their Historical Heritage - 207
certain events and personalize the subject.
It makes use of the narrative rather than the
analytical approach. Children do not want
detailed interpretations and explanations.
They come to know the character of the sub-
ject as presented through his actions, deeds
and conversations. In fictionalized biography,
the author may invent dialogue and even
include the unspoken thoughts of the sub-
ject. These conversations are usually based
upon actual facts taken from diaries and
journals of the period. Clara Ingram Judson,
a well-known biographer in the juvenile
field, emphasizes the importance of authen-
tic conversation in the foreword of her book,
A braham Lincoln, Friend of the People . She
states:
As I began writing, I saw that life is not a mere
tale to be told: it includes talk as well as action.
Talk is a kind of alchemy that brings reality. So
parts of my story are told through conversations.
When actual words are a matter of authentic rec-
ord, those words are used. When such record is
lacking, but the incident is true, talk is recon-
structed — much as the cabins are — from records
and letters and the well-known manner of talk of
each time and place. 14
When the biography consists entirely of
reconstructed conversation it becomes bio-
graphical fiction. Some authors intend to
write this type. An example of the best of this
form is Lawson’s hilarious Ben and Me,
the story of Benjamin Franklin as told by
his mouse, Amos. The facts of Franklin’s
life are truly presented, but Amos takes the
credit for most of his accomplishments! Law-
son used the same pattern for his readable
Mr. Revere and 1 which is the story of Paul
Revere as told by his horse.
THEME
Underlying all biography, whether it be his-
torical biography, fictionalized biography, or
biographical fiction, is the author’s interpre-
tation of his subject. No matter how impar-
tial an author may be, he cannot write a life
14 Clara Ingram Judson, in “ Author's Note,” Abra-
ham Lincoln, Friend of the People . Chicago: Follett
Publishing Company, 1957. p. ii.
story without some interpretation. The very
selection of facts which a biographer chooses
to present may limit the dimensions of his
portraiture, or highlight certain features.
The quality of a person’s character (particu-
larly one who is no longer living) must be
deduced from known deeds, letters, diaries,
pictures, canceled checks, and others' memo-
ries of him. Outward facts must always be
interpreted. The most common man has sev-
eral facets to his life; the great are apt to be
multidimensional. These various interpreta-
tions and emphases by the author become
the theme of a biography. In the well-written
biography this theme is clearly presented.
AUTHENTICITY
Authenticity is the hallmark of good bio-
graphical writing whether it is for adults or
children. More and more writers of juvenile
biography are acknowledging the sources of
their materials either in an introductory note
or an appendix. Conscientious authors of
well-written children’s biography frequently
travel to the locality of the setting in the
book in order to get a “feeling” for place.
They will visit museums to study actual ob-
jects that were used by their subjects; they
will spend hours poring over original letters
and documents. Much of this research may
not be used in the actual biography. Its effect
will be evidenced by the author’s true insight
into the character of his subject, by the ac-
curacy of the historic detail, and by his re-
spect for verifiable reporting. Parson Weems
was successful in perpetuating the unrealistic
myth of George Washington and his cherry
tree upon generations of Americans. Modern
biographers have more respect for fact and
do not have to resort to the invention of
moralistic stories to emphasize the worthy
attributes of their subjects. They are much
more concerned about presenting a true and
accurate picture of a human being who once
lived in a certain period and place, but who
can live again in a child’s imagination and
appreciation.
Many modern biographies for children are
208 - Knowing Children's Literature
illustrated. This same kind of painstaking
research should be reflected in the accuracy
of the illustrations which convey the time,
place, and setting. The costumes of the per-
iod, the interiors of the houses, the very
utensils which are used must be authentic
representations. Most difficult of all, perhaps,
is the actual portrayal of the subject. There
are many paintings and even photographs of
some of our national heroes. Usually their
features were recorded for posterity after
they had achieved their fame. What did
George Washington, or Thomas Jefferson, or
Abraham Lincoln look like as a child? Here
the artist must attempt to paint the child
with his future appearance in mind. The
d'Aulaires in their book Abraham Lincoln
have pictured the transition of Abe from boy
to man in a most believable fashion. His
buckskin breeches always seem too short and
his gangling awkwardness becomes increas-
ingly apparent as he reaches adolescence.
Abraham Lincoln grows up, matures, is happy,
worried, and saddened in the d’Aulaires’ pic-
tures as well as their text.
Biographical Series
Biographical series continue to spawn at such
a rapid pace that they threaten to engulf
readers of juvenile biography. Certain figures
in American history have been presented too
many times by too many books in the same
stereotyped manner. Sometimes authors have
written books to fill gaps in publishers’ lists
of proposed titles rather than to fulfill their
own consuming desire to portray for children
the life of a certain worthy man. The quality
of the books within each series varies with
the ability and interest of the author. This
calls for an individual evaluation of the
merits of each book plus the added considera-
tion of the need for another title about this
particular subject. These decisions and selec-
tions must be made personally by librarians
and teachers on the basis of the school library
collection. A knowledge of the distinguish-
ing characteristics of each series will be help-
ful for selecting biographies.
THE CHILDHOOD OF FAMOUS AMERICANS
SERIES
This series is published by Bobbs-Merrill and
was one of the first to popularize biography
for children. These books are really more
fictional than biographical as they attempt
to reconstruct the childhood of real persons.
The emphasis in all these stories is upon “the
growing-up” of famous people. Usually, only
the last chapter is devoted to their accom-
plishments as adults. The portrayals tend to
be oversimplified success stories. There are
over 150 titles in this series representing a
wide variety of American men and women
who left an imprint in our history and cul-
ture. Stories of more women and less well-
known people are included in this series
than in any of the others. The books contain
much dialogue and the stories move quickly.
Designed for self-reading by eight- to twelve-
year-olds, this particular series of books has
probably lured more children into becoming
independent readers of library books than
any other series. The format now has under-
gone revision to include colored illustrations
and a more attractive cover. For years chil-
dren have referred to these volumes as the
“little orange books.” Formerly they were
illustrated with black and white silhouettes.
Although many authors have written these
books, the names of Augusta Stevenson,
Miriam Mason and Guernsey Van Riper, Jr.
have been identified with several titles in the
series.
THE SIGNATURE BOOKS
The Signature Books edited by Enid Mead-
owcroft and published by Grosset are strictly
fictionalized biographies of well-known
American heroes. These stories are written
with dramatic beginnings and incorporate
much conversation. They are excellent for
slow readers and are usually recommended
for the nine to fifteen age group. They are
written by well-known writers in the juvenile
field including such authors as Iris Vinton,
Nina Brown Baker, and Hazel Wilson. The
format is not always consistent with the writ-
Children Identify with Their Historical Heritage - 209
ing. The simple pen and ink drawings add
little to the stories.
THE LANDMARK SERIES
This popular series, published by Random
House, is probably the most advertised and
well-known of all the series books. These
books are written about events, places, per-
sonalities and movements that are landmarks
in history. Some of the books emphasize
events more than particular people and are
not biographical. Thus, the series may in-
clude two books on a similar subject but
with a different emphasis, for example,
George Washington: Frontier Colonel by
Sterling North and The Winter at Valley
Forge by Van Wyck Mason. The recent addi-
tion of World Landmark books has widened
the variety of subjects considerably. The
books in this series, for the most part, are
written by well-known authors of adult
works. The list of writers includes such out-
standing names as Margaret Cousins, Pearl
S. Buck, Thomas Costain, MacKinlay Kan-
tor, Dorothy Canfield Fisher, and many
others. Some prominent authors in the ju-
venile field have also written for this series,
for example, Armstrong Sperry, Jim Kjel-
gaard, May McNeer, and James Daugherty.
The books are checked by consulting his-
torians for authoritative information in text,
illustrations, and maps. Designed for a read-
ing level from age ten through sixteen, this
series requires greater skill in reading than
the other two series mentioned.
THE REAL PEOPLE SERIES
These “unitexts" are published by Row,
Peterson under the directorship of Frances
Cavanah. The booklets have been prepared
as supplementary texts for social studies.
Many have been written by well-known
writers of juvenile biography and include
such names as Armstrong Sperry, Clara
Ingram Judson, and Carol Ryrie Brink.
While these booklets are only thirty-six pages
in length, they are expertly written and give
an authentic picture of their subjects. A
unique feature of this series is seen in the
treatment of the dialogue. Words which were
actually used by the historical characters
are set off by quotation marks in a bold-faced
type. Imagined conversation is indicated by
“regular" quotation marks. All of these book-
lets include a picture calendar of the subject
and his times. This helps the reader to place
the person in history, to know people who
lived at the same time as he, and the events
that were taking place concurrently.
There are other series of biographies, the
Makers of America series by Abingdon, The
Lives to Remember series by Putnam, The
Living Biography series by Roy Publishers,
and many more. Some firms publish biogra-
phies with similar format and title but do
not list them as a series. Houghton Mifflin
has published four outstanding titles: Ameri-
ca’s Paul Revere by Esther Forbes, America’s
Ethan Allen by Stewart Holbrook, America’s
Robert E. Lee by Henry Steele Commager,
and America’s Abraham Lincoln by May
McNeer. These are well-written authentic
biographies beautifully illustrated by Lynd
Ward. They deserve individual recognition
which they might not receive if they were
considered as just another series.
Well-Known Biographers of Juvenile
Literature
Some of the best biography for children has
been written by individual writers not con-
nected with series books. While mention
cannot be made of all of the writers who
have contributed to this special area of ju-
venile biography, students of children’s
literature will want to become acquainted
with some of the books by the following
authors:
1NGRI AND EDGAR PARIN d’AULAIRE
This husband and wife team has written out-
standing picture-book biographies. Their
titles include George Washington, Abraham
Lincoln (for which they received the Calde-
cott Award in 1940), Buffalo Bill , Pocahontas,
Columbus, Benjamin Franklin, and Leif, the
210 - Knowing Children's Literature
Lucky. These are large books with full-page
lithographs in vivid colors on every other
page. Large black-and-white pictures are
on the alternate pages and many small pic-
tures are interspersed throughout the books.
The illustrations match the text beautifully.
The d’Aulaires, who were not born in this
country, bring a fresh new perspective to
their writing and illustrating of these Ameri-
can heroes. In Abraham Lincoln they have
captured the homespun humor and philoso-
phy of the man. One seven-year-old child
having just heard the d’Aulaires’ Abraham
Lincoln , commented that she thought it was
an honest book. When she was asked why
she used that word, she replied, “The pic-
tures look honest, they look real!”
The d’Aulaires’ story of Columbus is one
of the few for younger children which in-
cludes his discouraging last voyages. They
picture his bitterness with sympathetic under-
standing but do not gloss over the facts.
These books are authentic in both text and
illustration. Teachers in kindergarten and
first grade will want to show the pictures as
they tell certain portions of these stories to
children. Second- and third-graders enjoy
hearing the stories read aloud. More mature
readers of the third and fourth grades can
read them independently.
ESTHER AVERILL
In the juvenile field, there are very few his-
torical biographies in the true sense of this
term. Perhaps Esther Averill has come closer
to writing such a book in her Cartier Sails
the St. Lawrence than many other biogra-
phers of children’s books. The text is taken
mainly from Cartier’s own logbooks and
letters. Miss Averill’s account of his three
voyages up the St. Lawrence makes fascinat-
ing reading for boys from the fourth through
eighth grade. The black and white illustra-
tions by Rojankovsky add greatly to the
adventure of this historical reporting of ex-
ploration in the New World. Miss Averill
and Rojankovsky also collaborated on a
picture biography of Daniel Boone.
NINA BROWN BAKER
This author has produced many nicely writ-
ten, documented biographies for young
people. Her books on Bolivar, Juarez, Peter
the Great, Lenin, Sun Yat-Sen, and Sir
Walter Raleigh are for the mature reader in
high school. Children in the fifth and sixth
grades thoroughly enjoy her biographies of
Amerigo Vespucci and Zebulon Pike.
In Amerigo Vespucci, Baker presents a
fascinating picture of the man who did not
discover the New World, but who was the
first to know it was new. When cartographers
decided that this theory was correct, they
named the new land “America” for the man
who had first realized it was truly new.
The author has particular talent for help-
ing the reader imagine what it must have
been like to have lived in Vespucci’s day.
She draws comparisons between the people’s
curiosity about the East and the contempo-
rary world's curiosity about space. People
wondered in those days — they wonder today.
In the author’s own words:
By these products, Europeans knew that the
Oriental countries existed. They knew that one
Italian, Marco Polo, had visited them nearly two
centuries ago, and returned to tell the tale
And that was all they did know. The geography
of the East had the same fascination that science
fiction has today. People speculated on life in
Asia as they speculate now about life on Mars.
So far only Columbus had been bold enough to
seek a way to the fabled lands. 15
In Pike of Pike's Peak , Mrs. Baker has
presented a revealing portrait of a soldier
who loved peace. This is an exciting and
well-written biography. This same author
has helped children see the romance and
excitement that can be found in a vocation
of business in her two books, Big Catalogue:
the Life of Montgomery Ward, and Nickels
and Dimes: the Story of F. W. Woolworth.
The biographies by Nina Brown Baker are
readable and have wide appeal for young
people.
15 Nina Brown Baker, Amerigo Vespucci. New York:
Alfred A. Knopf, 1956. p. 41.
Children Identify with Their Historical Heritage - 211
CLYDE BULLA
Clyde Bulla has a special talent for writing
interesting and exciting stories which can be
read independently by third graders. Among
his many books, there are two very popular
biographies — Squanto, Friend of the White
Man and John Billington, Friend of Squanto.
The true story of Squanto is one which has
always appealed to children for it is filled
with adventure, anxiety, and pathos. They
identify readily with this Indian who spent
some eight years in England. They rejoice
when Squanto has the opportunity to return
home, but are dismayed when he is captured
and sent back across the Atlantic to be sold
as a slave in Spain. Clyde Bulla tells this
moving tale with simplicity and dignity. The
pictures by Peter Burchard are as forceful as
the text. The story of John Billington, while
not as moving as that of Squanto, is perhaps
more fun. For John was a spirited and irre-
pressible young Pilgrim lad who worried his
elders with his escapades. His capture by un-
friendly Indians was mediated by his friend
Squanto and peaceful relations with this
tribe resulted.
ALICE DALGLIESH
Miss Dalgliesh has written two outstanding
picture biographies for younger children:
The Columbus Story illustrated by Leo
Politi and Ride on the Wind illustrated by
Georges Schreiber. The Columbus Story is a
straightforward account of his boyhood, his
difficulties obtaining support for his venture,
and his successful first voyage. The pictures
by Politi are striking in their simplicity and
clarity. They are perfectly suited to this
dignified biography of the discoverer of the
New World. At long last, teachers of the first
and second grades have an authentic, inter-
esting, and beautifully illustrated story to
read to their classes on Columbus Day.
Ride on the Wind is another picture biog-
raphy for somewhat older children based
upon the book The Spirit of St. Louis by
Charles A. Lindbergh. Some background of
Lindbergh's childhood is related, but the
major portion of the story is devoted to the
actual experience of the first nonstop solo
flight across the Atlantic. A dramatic account
is given of Lindbergh's greatest struggle —
his effort to fight drowsiness. The reader can
almost feel his own eyes become heavy-lidded
as he reads the phrases:
. . . How he wanted to sleep! If he could lie
down on the soft fluffy quilt of a cloud and sleep.
. . . His eyes were closing. . . . He rubbed his eyes,
put his head out into the cool air. . . . His mind
kept drifting off. 16
The illustrations by Georges Schreiber are a
perfect complement to the text. In one beau-
tiful full-page spread, the Spirit of St. Louis
looks very small indeed against a vast sky of
blue moonlight and clouds. Alice Dalgliesh
has written a thoughtful epilogue for chil-
dren who read this book today:
Big planes carry mail and passengers and cargo
across the oceans. These planes have radio and
radar and all kinds of instruments to guide their
pilots. Yet always the little Spirit of St. Louis
seems to fly beside them — for there must always
be a “first” to show the way. 17
JAMES DAUGHERTY
The name of James Daugherty seems almost
synonymous with that of biographer and il-
lustrator of the American scene. With sing-
ing, swinging, pictures and rhythmical prose
he has portrayed Daniel Boone, Abraham
Lincoln, Lewis and Clark, Benjamin Frank-
lin, and Marcus and Narcissa Whitman. His
story of Daniel Boone received the Newbery
Award for the most distinguished contribu-
tion to children’s literature. Here, in almost
epic prose he has portrayed the rigor and
humor of pioneer life. He tells of Boone’s
early explorations, the building of the Wil-
derness Road, and the grim nine-day siege of
Boonesborough. It was during this siege that
the Indians offered friendship in exchange
lfl Alice Dalgliesh, editor. Ride on the Wind. Told
from The Spirit of St. Louis, by Charles A. Lind-
bergh. Illustrated by Georges Schreiber. New York:
Charles Scribner’s Sons, Inc., 1956. Unpaged.
17 Ibid. Unpaged.
212 - Knowing Children's Literature
Bold, lusty figures express the pioneer
spirit of early Americana. Cover,
Daniel Boone written and illustrated
by James Daugherty. Viking, 1939. ©
1939 James Daugherty.
for a peaceful surrender. Boone welcomed
this delay and explained that his people
would give an answer in two days. Daugherty
describes their answer in the following
words:
Inside the fort the chances were talked over
and argued and weighed after the democratic way
of the backwoods. The odds were ten to one and
worse against defense, and not a man, woman, or
child would be spared if — But the tough cantan-
kerous spirit of the frontier urged: "Go ahead or
bust.” They would not have been where they
were if they had not been stubborn survivors of
a rough, tough, restless race who lived and died
in their own independent way by the rifle, the
ax, the Bible, and the plow. So they sent back the
eagle's answer: "No surrender," the answer of the
sassy two-year-old baby democracy, the answer of
Man the Unconquerable to the hosts of darkness
— "No surrender .” 18
18 James Daugherty, Daniel Boone . New York: The
Viking Press, 1939. p. 59.
Daugherty's illustrations depict the lusty
good fun of the frontier life as readily as the
terror of an Indian capture. There is joy,
horror, courage, and action in his swirling
turbulent scenes. His powerful pictures are
not pretty, but they are a perfect complement
to his vigorous prose.
The books by James Daugherty are for
the superior reader. His biographies of
Lincoln, Franklin, and Lewis and Clark are
more appropriately written for the teen-
ager. Teachers in intermediate grades may
want to read parts of these books aloud
to their classes; their prose invites oral
presentation.
GENEVIEVE FOSTER
Genevieve Foster has written the life stories
of George Washington, Abraham Lincoln,
and Andrew Jackson in a series of books
Children Identify with Their Historical Heritage - 213
which are subtitled “initial biographies."
These books are characterized by the same
high quality of writing and accuracy of de-
tail which distinguish Genevieve Foster’s
George Washington's World and Abraham
Lincoln's World. The initial biographies are
more simplified than the documentary
“world" books. They do include, however,
much information concerning the lives of
these three men. They are good stories which
may be easily read by fourth- and fifth-grad-
ers. Genevieve Foster believes in giving chil-
dren a clear, true picture of a man’s life in
an “initial" biography. Thus in Andrew
Jackson she shows both sides of the contro-
versial Old Hickory. She does not avoid the
scandal which surrounded his marriage, but
separates fact from falsehood and shows that
both Andrew and his Rachel were unaware
that Rachel had not been properly divorced.
The two-color illustrations by the author are
as clear as her text, and reflect the action
and humor of the stories. The very simplicity
of these biographies appeals to children and
at the same time reveals the skilled artistry
of their author.
CLARA INGRAM JUDSON
All of the biographies by Clara Ingram Jud-
son are characterized by scholarly research.
She visited the places where the stories were
located. She used first sources for her infor-
mation, poring over letters, journals, and
first-hand accounts. Then she wrote the facts
in a vivid, interesting style that holds the
attention of boys and girls from age ten to
sixteen.
Frequently the theme of Mrs. Judson's
books can be seen in their very titles, for
example, George Washington , Leader of the
People; Andrew Jackson , Frontier States-
man; Thomas Jefferson , Champion of the
People; Abraham Lincoln, Friend of the
People; and Theodore Roosevelt, Fighting
Patriot . Many biographies have been written
about these famous men, but it appeared to
Mrs. Judson that the only justification for
writing more would be the presentation of a
different interpretation of their lives. Her
intensive research frequently revealed facets
of the lives of these great men which had not
been included in the more stereotyped biog-
raphies for children. For example, while
reading the diary of a private soldier who
served with Washington at Valley Forge she
came upon these words: “The General came
by and pitched. The General is a good
pitcher." Few biographies of Washington
ever pictured him as a good baseball player!
And yet this side of his character would be
much more appealing to children than the
priggish piesentation of the cherry-tree story.
Clara Ingram Judson’s George Washington
emerges as a real person, the commander-in-
chief, the first president, but also as a farmer,
father, and the man who loved his family as
dearly as he loved his country.
When Judson began writing Abraham
Lincoln, Friend of the People she journeyed
to the little cabin on Knob Creek in Ken-
tucky. As she looked at the little home, she
decided that Lincoln’s poverty had been
overstressed. It was true that his family had
few possessions, but no one else living on the
frontier had many either. Mrs. Judson makes
the reader feel that the Lincolns were rich
in their family relationship.
Mr. Justice Holmes is a more difficult book
to read than the others by Mrs. Judson, but
it tells a fascinating story. Even when Wen-
dell Holmes was a judge and six feet four
inches tall, his famous father, Doctor Oliver
Wendell Holmes, called him “my little boy."
Though Wendell often wondered if he could
ever really grow up in his father’s opinion,
he became one of the greatest men America
has produced. This fine and penetrating
biography for the more mature reader was
the winner of one of the Thomas A. Edison
mass-media awards in 1956. Unfortunately,
Mrs. Judson died before it was announced
that she had received the 1960 Laura Ingalls
Wilder Award for her lasting contributions
to children’s literature.
JEAN LEE LATHAM
The biographies of Jean Lee Latham are
highly fictionalized and fascinating. Most
214 - Knowing Children's Literature
authors would be dubious about writing an
interesting biography for children about a
mathematician; Miss Latham was challenged.
She studied mathematics, astronomy, ocean-
ography, and seamanship. Then she went to
Boston and Salem to talk with descendants
of Nathaniel Bowditch and to do research on
the geographical and maritime backgrounds
of her story. The result of all of this research
was the Newbery Award winner for 1956,
Carry On, Mr. Bowditch. This is the amazing
story of Nat Bowditch who had little chance
for schooling, but mastered the secrets of
navigation for himself. Denied the education
for which he yearned, Nathaniel was appren-
ticed to a ship chandler for nine long years.
However, he taught himself everything he
could learn about the sea and ships, mathe-
matics, astronomy, and even Latin. Before he
was thirty, Nat Bowditch had written The
American Practical Navigator which is still
used some hundred and fifty years later as
a standard text in the United States Naval
Academy! He had followed the advice given
to him by his friend Sam Smith early in his
apprenticed days; he had learned to sail by
“ash breeze.”
“When a ship is becalmed — the wind died down
— she can’t move — sometimes the sailors break
out their oars. They’ll row a boat ahead of the
ship and tow her. Or they'll carry out anchors
and heave them over, and the crew will lean on
the capstan bars and drag the ship up to where
the anchors are heaved over. Oars are made of
ash — white ash. So — when you get ahead by your
own get-up-and-get — that’s when you ‘sail by ash
breeze*.'* 19
Jean Lee Latham has also written the biog-
raphy of Matthew Fontaine Maury, the
founder of the naval academy, in Trail
Blazer of the Seas. For somewhat younger
readers, she has written Medals for Morse
and Young Man in a Hurry, the story of
Cyrus Field. Miss Latham is a gifted story-
teller who also respects accuracy and authen-
ticity.
19 Jean Lee Latham, Carry On, Mr. Bowditch.
Boston: Houghton Mifflin Company, 1955. p. 48.
MAY MCNEER AND LYND WARD
This husband and wife team has produced
several fine biographies. They have written
two life stories of outstanding religious lead-
ers, namely, Martin Luther and John Wesley.
Their stories are told with dignity and
simplicity and are illustrated with striking,
full-page pictures by Ward. The large illus-
trations are in color, while black-and-white
illustrations appear on almost every page.
A similar format is used in their America’s
Abraham Lincoln, one of the most handsome
biographies written for young people. Thor-
ough research is reflected in both May Mc-
Neer’s perceptive text and Lynd Ward's
magnificent pictures. Only those statements
which were actually known to have been
Lincoln’s are included in the conversations;
but the story is well-written and fast moving
without the invention of dialogue.
The Wards have produced another type of
biography in their book entitled Armed with
Courage. Here they present the biographies
of seven men and women who are similar
only in their physical and spiritual courage;
Florence Nightingale, Father Damien, George
Washington Carver, Jane Addams, Wilfred
Grenfell, Mahatma Gandhi, and Albert
Schweitzer. It is always difficult to portray a
complete picture of a person in a few pages.
However, in this collection of seven bio-
graphical sketches the Wards have been
eminently successful. With sensitive text and
dramatic black-and-white illustrations they
capture the self-sacrifice and determination
of these great men and women who were
“armed with courage” only.
RONALD SYME
Syme has written a biographical series about
explorers which is particularly enjoyed by
older boys. These biographies are written in
an easy flowing style without being written
down or simplified. The author includes an
amazing number of facts in these concise and
clearly written books; yet he manages to por-
tray his subjects realistically with their
strengths and weaknesses. In John Smith of
Children Identify with Their Historical Heritage - 215
Virginia, Syme has drawn a picture of Smith
which shows the leadership qualities which
made men his willing followers, and also
portrays those qualities which made men
hate and envy him. Syme’s account of Cortes
of Mexico is somewhat different from the one
usually given. He emphasizes Cortes' desire
to explore and map the new world and
blames the greedy men under him for his
troubles with the Aztecs.
Despite the magnificent seamanship of
Vasco da Gama, Syme points out in his book
of this title that he was unable to make
friends with the natives. The author has
shown the dark side of Gama’s character, his
violent temper and revengeful nature. His
demands and reprisals against the Arabs and
natives of Africa made too many enemies for
his little country of Portugal. He discovered
the sea route to India but he failed miserably
in his attempt to use it. It is easy to under-
stand why the Portuguese empire was short-
lived as one reads Syme’s description of
Gama’s departure from India. The vigorous
black-and-white drawings of William Stobbs
add greatly to the forcefulness of Syme’s writ-
ing. Stobbs has illustrated most of the latter’s
biographies. The artist always includes an
excellent map showing the routes of the dif-
ferent explorers. These books would be par-
ticularly useful as supplementary material
for social studies.
OPAL WHEELER AND SYBIL DEUCHER
Children from seven to eleven, who are in
the throes of beginning piano lessons, may
enjoy the biographies of musicians written
by Opal Wheeler and Sybil Deucher. At first,
these authors collaborated on their writing
of Joseph Haydn, the Merry Little Peasant,
and Mozart, the Wonder Boy. Later, they
worked individually, but used the same for-
mat established with their early books. Their
pattern usually emphasizes the childhood of
the musicians and their later accomplish-
ments. Emphasis is frequently placed upon
escapades and pranks, such as Haydn’s cut-
ting off the pigtail of one of the boys in the
Vienna Boys Choir. These books are almost
too gay in their accounts of composers’ lives.
No suggestions of the tragedy of Mozart’s life
or the deafness of Beethoven are given. These
realities are not beyond the understanding
of young children and would present a more
truthful and rounded picture of their great-
ness. The books are illustrated by simple
black-and-white drawings. Excerpts from the
music of the composers are included for the
reader who may wish to play some of their
easier compositions.
Miss Wheeler has also written an interest-
ing biography of Hans Christian Andersen.
This is the story of the awkward cobbler's
son who was born in Odense, Denmark. Tall,
fair-haired, this dreamer of dreams was often
ridiculed for his storytelling and whipped by
his school masters. At last he became recog-
nized for the genius that he was. In Hans
Andersen: Son of Denmark, Miss Wheeler
has included seven of his famous fairy tales.
OTHER BIOGRAPHERS
It is impossible to include all of the biograph-
ers of well-known children’s books. Some
authors have only written one or two and yet
these are excellent biographies. This is cer-
tainly the case with Roger Duvoisin’s exciting
biography of Francisco Pizarro titled, The
Four Corners of the World . Children, teach-
ers, and librarians will enjoy the well-written
biography by Josephine Blackstock, Songs for
Sixpence, the story of John Newbery. The
names of Jeanette Covert Nolan, Catherine
Owens Peare, and Katherine Binney Shippen
are closely associated with fine biographies
for young people. In most instances, however,
they have written for the high-school reader,
not the child in elementary school.
As teachers and parents guide children's
reading, it will be helpful to know the limita-
tions and outstanding characteristics of biog-
raphy for children. There are biographies to
meet almost all interests and levels of read-
ing, from fare for the reluctant reader to his-
torical research for the avid one.
216 - Knowing Children's Literature
Types of Biographies:
Lincoln Comparisons
Probably there have been more adult biog-
raphies written about Abraham Lincoln than
any other American. The same statement can
be made about the number of juvenile biog-
raphies which have portrayed his life. Chil-
dren enjoy reading stories about this famous
American hero the year around and not just
during the month of his birth. A comparison
of the many biographies about him will illus-
trate the wide range of biographical types for
children.
PICTURE BOOKS
In describing Lincoln, Carl Sandburg said
he was like something out of a picture book
for children. Yet there have not been many
picture books about Lincoln. The d’Aulaires'
Abraham Lincoln is the best example of this
type of biography. In full-page lithographs
of glowing color, these artists have presented
the picture-book story of Lincoln from child-
hood through the Civil War. Pictures and
text flow together to show the many sides of
this solemn, studious, fun-loving, “peculiar-
some” lad. The authors have included many
of the well-loved anecdotes of his life. Chil-
dren will delight in the story and picture of
Abe holding a little boy upside down to make
muddy tracks on the white-washed ceiling in
order to fool his step-mother. Another full-
page illustration shows Abe stretched out on
the carpet in the parlor of his Springfield
house reading a book, oblivious to the antics
of his three noisy sons. The reflection of
Mary Todd Lincoln in the mirror suggests
an unhappy ending to the day's fun. The
d’Aulaires have captured the homespun
qualities of this gawky great man in both
their text and illustrations. This book serves
as a perfect introduction of Abraham Lincoln
for seven-, eight-, and nine-year-olds.
Another picture book titled Lincoln : a Big
Man emphasizes Lincoln’s “bigness” of sta-
ture and nature. Helen Kay has painted
wonderful word pictures in this text which
are complemented by the slightly distorted
black-and-white sketches of this tall, awk-
ward man. Lincoln’s height is stressed in the
author’s description of a marble game among
Willie, the oldest Lincoln boy, and his
friends:
Suddenly a shadow fell across the marble ring
and a pair of very large feet appeared beside him.
Willie looked up the very long legs and even
higher up to the large kindly, smiling face. And
as if put there to make him look even taller, on
his head sat a plug hat — half a foot high! 20
Lincoln took time to play with the boys. He
won all their marbles and then returned
them! Abraham Lincoln was frequently in-
convenienced by his height. An amusing pic-
ture of him in bed in one of the many hotels
at which he stayed while riding the Circuit
shows his long feet sticking out from under
the footboard. This. book includes many
other references to his size,' but also tells
many of the anecdotes which showed his big-
ness of heart. As his wife, Mary, once re-
marked, “People are not aware that his heart
is as large as his arms are long.” The author
and illustrator have carefully blended the
outward appearances of this man with his
inner character. Younger children will enjoy
the humorous stories and pictures, but they
may also gain an insight into the greatness of
his spirit.
BIOGRAPHICAL EPISODE
There are many stories for children which
are based upon a single biographical incident
in Lincoln’s life. Hertha Pauli has written a
small book titled Lincoln’s Little Corre-
spondent which reconstructs the story of the
little girl who was supposed to have written
to Abraham Lincoln suggesting that he grow
a beard. Carl Sandburg refers to this story of
Grace Bedell as one odd piece of American
history and folklore. And yet how else can
one explain the letter which begins “Dear
Sir ... I am a little girl only eleven years old
. . .,” for it hangs today on the wall of the
Lincoln house in Springfield, Illinois. The
“Helen Kay, Lincoln: a Big Man. New York:
Hastings House Publishers, Inc., 1958. p. 8-9.
Children Identify with Their Historical Heritage - 217
author has written an interesting and excit-
ing story. Its climax comes when the Presi-
dential train stops in Westfield, New York
and following Lincoln’s address, he asks to
speak to “his little correspondent.” When
Grace is led up to the train she at last sees
that he has grown a beard. Lincoln picks her
up and says: “You see I let them grow for
you, Grace.”
Henry's Lincoln by Louise Neyhart tells
of the Lincoln-Douglas Debate at Freeport,
Illinois. Henry, a ten-year-old, is finally al-
lowed to drive Prince, his spirited white
horse, into town to hear the two men speak.
The author has made this debate and the
issues involved in it come alive for boys and
girls of the twentieth century. They will
identify with Henry’s indecision as to which
man to support. Finally, he is won over to
Lincoln’s side and waits to speak to him after
the debate. Mr. Lincoln sees him wearing his
Douglas badge and remarks that he is glad
to have a Douglas man speak to him. In this
small, exciting book the issues of this famous
occasion are presented clearly and forcefully.
It might lead children to conduct their own
mock debates upon major issues today.
Ruth Painter Randall has collected many
of the incidents relating to Abraham
Lincoln’s encounters with animals and pre-
sented them in her book Lincoln's Animal
Friends . Each chapter tells a separate story.
One of the most moving is the tale of six-
year-old Abe’s pet pig. On the unbelievably
horrible day of hog-killing, Abe took his pet
to the woods for the day. However, the next
day, his father rose early and caught the
hog. Lincoln always remembered this “awful
tragedy,” as he termed it, and once made the
comment that sadness comes harder to the
young “because it takes them unawares.”
This book portrays his compassionate and
fun-loving side. Children will enjoy the many
animal adventures and the excellent illustra-
tions by Louis Darling.
PARTIAL BIOGRAPHY
One of the liberties allowed juvenile biog-
raphers is the writing of partial or incom-
plete biography. Carl Sandburg has written
Brightly colored lithographs de-
pict a fun-loving gawky Lincoln.
From Abraham Lincoln written
and illustrated by Ingri and Ed-
gar Parin d’Aulaire. Doubleday,
1939, 1957.
218 - Knowing Children's Literature
a partial biography for children titled Abra-
ham Lincoln Grows Up. It was made from
the first twenty-seven chapters of the longest
and most definitive of biographies for adults,
Sandburg's Abraham Lincoln, the Prairie
Years . In his juvenile biography, Sandburg
includes Lincoln's birth and boyhood, until
he was nineteen and “grown up." It is written
in singing prose which at times seems more
like poetry. Sandburg tells not only the story
of Lincoln’s early life, but he describes the
monotony of daily living in those times. He
describes Lincoln's desire for learning and
knowledge in the following words:
He wanted to learn, to live, to reach out; he
wanted to satisfy hungers and thirsts he couldn't
tell about, this big big boy of the backwoods. And
some of what he wanted so much, so deep down,
seemed to be in books. Maybe in books he would
find the answers to dark questions pushing around
in the pools of his thoughts and the drifts of his
mind. He told Dennis and other people, “The
things I want to know are in books; my best
friend is the man who'll git me a book I ain’t
read." And sometimes friends answered, “Well,
books ain’t as plenty as wildcats in these parts o’
Indiannyl’’2i
Sandburg gives weight to the saying “The
child is father to the man," as he points up
some of the lasting influences of Lincoln's
childhood. One of these molding factors was
the amount of time which Lincoln spent
alone.
Growing from boy to man, he was alone a good
deal of the time. Days came often when he was
by himself all the time except at breakfast and
supper hours in the cabin home. In some years
more of his time was spent in loneliness than in
the company of other people It was the wilder-
ness loneliness he became acquainted with, solved,
filtered through body, eye, and brain, held com-
munion with in his ears, in the temples of his
forehead, in the works of his beating heart. . . .
He found his life thrown in ways where there
was a certain chance for a certain growth. And so
he grew. Silence found him; he met silence. In the
making of him as he was, the element of silence
was immense. 22
* Carl Sandburg, Abe Lincoln Grows Up. Reprinted
from Abraham Lincoln: the Prairie Years . Illustrated
by James Daugherty. New York: Harcourt, Brace &
Company, 1928. p. 1S5.
m Ibid. p. 100.101.
The rhythm of Sandburg's prose begs to be
read aloud and shared. This book is perhaps
best read orally by the teacher during the
story hour. More mature readers in the fifth
and sixth grade could read it independently.
Frances Cavanah's book, Abe Lincoln Gets
His Chance , covers a somewhat longer period
than the Sandburg book, ending with Lin-
coln’s departure for the White House. Miss
Cavanah has made good use of dialogue in
this well-written book. The theme which she
emphasizes is that Abe Lincoln made oppor-
tunities from what others would have con-
sidered handicaps. The end papers show an
interesting map of the locations of the vari-
ous homes of Abraham Lincoln. The black-
and-white sketches seem almost too modern,
the women too chic and attractive in their
poke bonnets, and the men too handsome.
Children will enjoy the conversation, the
humor, and the inclusion of many interesting
anecdotes in this book. It is easily read by
middle-graders.
COMPLETE BIOGRAPHY
A few of the many complete biographies of
Lincoln are outstanding. One of these is
Clara Ingram Judson's Abraham Lincoln,
Friend of the People. In this beautifully
written biography, Mrs. Judson portrays
Lincoln as a boy, father, lawyer, and presi-
dent — but always human. She plays up his
ability to tell good stories and entertain his
listeners. Her description of his early cam-
paign speeches is as picturesque as it is
amusing.
Lincoln’s first chance to speak came at an auc-
tion nearby. He arrived early, dressed in his best
— a coat of mixed jeans, cut clawhammer fashion
(with sleeves and coattails too short) , tow and
flax pantaloons, and a straw hat without a band.
He visited with the men and made a campaign
speech. His statement of principles got attention,
and his backwoods tales delighted them. A favor-
ite yarn was about a preacher who during a long
sermon felt a lizard crawling up inside his
breeches. Abe Lincoln’s gifted mimicry as he acted
out the preacher’s frantic misery had the men
rocking with laughter. 23
* Clara Ingram Judson, Abraham Lincoln, Friend
of the People . Chicago: Follett Publishing Company,
1957. p. 89-90.
Robert Frankenberg has produced clear,
forceful black-and-white line drawings for
this book. In addition, colored photographs
of the Lincoln dioramas from the Chicago
Historical Society provide interest and
authenticity.
May McNeer and her husband, Lynd
Ward, have collaborated to produce one of
the most moving and beautiful biographies
of Abraham Lincoln. From a literary and
pictorial standpoint, this book is superb. The
only dialogue which is used are those words
which are known to have been Lincoln’s. Yet
the story moves rapidly from a “shirttail
boy” of seven walking to school with his sis-
ter, Sarah, to a single swift shot during the
third act of a play at Ford’s Theatre. The
events of Lincoln’s childhood are described
in well-chosen words against a backdrop of
black-and-white pictures and vividly colored
ones glowing with the rich greens of the
wilderness. There is a wonderful, humorous
picture of Lincoln’s stepmother supervising
the washing of children one by one in the
horse trough. Abe is smiling as he helps to
carry the water. His new mother looks on
approvingly and laughs. Even the dappled
grey horse looks startled at this burst of
activity.
The Wards have pictured the many sides
of the moody, good-natured, studious young
man. They emphasize his grief at the death
of Ann Rutledge in poetic prose and a force-
ful picture:
Lincoln’s long face, where sadness seemed to
make its home, grew lined and etched with grief.
In his twenty-six years he had lost his mother, his
sister, and now the girl Ann. . . .
Lincoln’s friends worried about him. He was
lost in grief, wandering about unable to think,
unable to work. Nancy and Bowling Green took
him to their home and put an axe in his big
hands. Out under the sky, sinking his axe blade
in a log, stripping the ripened ears of corn, and
driving a team, he found help while their friend-
ship gave him comfort . 24
The fun-loving Lincoln is portrayed by Ward
“May McNeer, America's Abraham Lincoln. Bos-
ton: Houghton Mifflin Company, 1957. p. 48.
A soft pink sunset provides contrast for the grief
stricken figure of Lincoln. From Americas Abraham
Lincoln by May McNeer. Illustrated by Lynd Ward.
Houghton Mifflin, 1957.
in a picture of Lincoln with his three boys.
He is holding the youngest while the other
two are hugging him. Even the cat is purring
up against one of his long legs. Mary Todd
Lincoln stands quietly at the door with lov-
ing admiration in her eyes and a somewhat
wistful expression on her face. She would
never tolerate such hilarious “goings-on”
herself, but Lynd Ward’s picture suggests a
longing to enter into this world of open-
hearted joy. Children will be the richer for
meeting him through the media of May Mc-
Neer’s flowing prose and Lynd Ward’s de-
tailed and expressive illustrations.
Jeannette Covert Nolan’s biography, Abra-
ham Lincoln , also begins with seven-year-old
Abe. It tells his complete life, utilizing much
dialogue. This is an objective biography of
Lincoln which is written for the more mature
reader. Mrs. Nolan describes Lincoln’s grief
following the death of Ann Rutledge, but
219
220 - Knowing Children's Literature
she makes no assumptions about their rela-
tionship. Small black-and-white pictures in-
troduce each chapter in this book. Each pic-
ture includes a portrait of Lincoln and a
sketch interpreting the action of the chapter.
The portraits show the growth and aging of
Lincoln. There are the same brooding eyes
in the seven-year-old Abe as in the mature
Lincoln. The illustrator has skillfully cap-
tured the similarity of features at the same
time he has shown ravages of time. This
authentic biography of Lincoln includes an
index and bibliography.
James Daugherty has written a complete
and comprehensive biography also titled
Abraham Lincoln . Again, this is a book
which requires mature reading ability.
Daugherty's prose has a distinctive swing and
vigor which is repeated in the lines of his
powerful illustrations. Some of his writing
reminds the reader of the Sandburg biogra-
phy of Lincoln — it has the same poetic
quality. But Daugherty’s story is more som-
ber than the Sandburg account of Lincoln’s
early life. Daugherty writes of the New
Salem Legend of 1835, and states that Ann
Rutledge and Abe were engaged at the time
of her death. The following passage is typical
of Daugherty’s rhythmical prose:
Long after the lights had gone out forever in
the de&erted cabins on the New Salem bluff, and
when a tragic glory hung about his name and
fame, recorders came to the old scenes seeking
out the men and women Lincoln had known and
loved in the vanished cabins and the haunted
paths where he had walked asking Why was he
sad? What was he like? What made him weep?
What made him laugh? What was his secret?
Whom did he love? What did he hate?
Men and women, searching in the twilight attic
of past years, dusted off daguerreotypes of mem-
ory, and repeated the echoes of his remembered
phrases, recalling the old jests and laughter, and
restoring the colors of pictures faded and dark-
ened by time.
One memory story tells of Ann, the golden-
haired daughter of old James Rutledge who had
owned the mill and tavern at New Salem 25
“James Daugherty, Abraham Lincoln. New York:
The Viking Press, 1943. p. 48.
Daugherty’s pictures of Lincoln vary from
the tall, gawky, almost grotesque, young man
telling stories in the New Salem store, to the
powerful wrestler who defeated Jack Arm-
strong, to the brooding, somber, war-weary
President. All of the illustrations have the
power and vitality which are so typical of
Daugherty’s work. This is a comprehensive
work which will prove difficult reading for
the average middle-grader. Parts of it could
be read aloud by the teacher. It has an excel-
lent index and could be used as a reference
book.
COLLECTIONS
The story of Abraham Lincoln is included in
many biographical collections, for example,
Stoiy of the Presidents of the United Slates
of America by Maud and Miska Petersham.
These stories must necessarily be biograph-
ical sketches since only a few pages may be
allotted to each subject. However, the Peter-
shams have presented more than just salient
facts as they have attempted to include some
of the outstanding qualities and characteris-
tics of each personality.
The greatness of Lincoln seems to have
increased with time rather than to have di-
minished. As people become more interested
in finding out about this enigmatic man, they
have focused their attention on his back-
ground, upon his parents, and his relations
with members of his own family. Children’s
books have also reflected this interest as indi-
cated by such titles as Le Sueur’s Nancy
Hanks of Wilderness Road , Margaret Fris-
key’s Tad Lincoln and the Green Umbrella,
and Frances Cavanah’s They Knew Abe
Lincoln . There are many of these related
biographies, but in the juvenile field they
appear to be restricted to the subject of
Abraham Lincoln.
Also unique in the field of juvenile biog-
raphy is the Abe Lincoln Anthology com-
piled by Hilah Paulmier. This anthology in-
cludes material from more than sixty authors,
biographers, novelists, and poets. The editor
has chosen those stories, incidents, and
Children Identify with Their Historical Heritage - 221
speeches which best reveal the true character
of Lincoln. This book is indexed and should
prove to be an excellent reference for both
teachers and young people.
The biographies about Abraham Lincoln
for children have revealed five main types:
picture biographies, biographical incidents
or episodes, partial biographies, complete
biographies, and biographical collections.
For the subject of Abraham Lincoln there
HISTORICAL FICTION
America's awakened interest in the historical
novel is clearly reflected in the increasing
number of fictional books for, children which
have a historical background. These books
supplement the information obtained from
factual books and biographies. Historical fic-
tion for children attempts to reconstruct the
life of an age, period, or moment other than
that of the present generation. The charac-
ters, settings and events are drawn from the
past. The author may invent the plots, char-
acters and events; he may utilize real charac-
ters and happenings of history; or he may
make use of both true and fictitious people
and plot.
There is a difference between historical
fiction which is written as historical fiction,
and those books which take on historical
significance with the passage of time. It is
sometimes difficult to understand that what
may be a vivid memory for an adult is history
for children. Such books as Snow Treasure
by Marie McSwigan and Twenty and Ten by
Bishop are historical stories in the sense that
today’s child has no recollection of the Nazi
occupation of Norway and France. However,
at the time when these books were written,
they were stories of contemporary life. They
are exciting and well-written; they recapture
the anxiety and courage of the people of their
time, but they are not historical fiction in the
usual definition of the term. These are stories
which have endured, and in the process of
their endurance they have acquired an his-
torical value. In historical fiction, the author
are also related biographies and a biograph-
ical anthology. Most of these biographies use
a fictionalized form; a few represent the
factual reporting of the historic biography
(probably Daugherty's Abraham Lincoln
comes closer to this than any other); while
some of the biographical episodes, such as
the story of Henry’s Lincoln and Lincoln’s
Little Correspondent , are biographical fic-
tion.
deliberately attempts to reconstruct the life
of an age other than that of the present
generation. Both historical fiction and books
written at the time of an historical event may
convey the life and spirit of the period to
children.
Criteria for Historical Fiction
Books of historical fiction are not exempt
from the requirement of telling a good story.
They should not just sugar-coat history, but
tell a story which is interesting in its own
right. Secondly, these stories must make the
period come alive for their readers. The
author must re-create both the physical en-
vironment of the times and capture the spirit
and feelings of the age. Third, these stories
must be historically accurate and authentic,
both in presenting the everyday life of their
characters and the events of the period. The
author cannot falsify the fundamental rec-
ord of history. In this sense, then, history
does set a boundary around the presentation
of historical fiction. Fourth, well-written
books of historical fiction contain a theme.
This theme may be an historical one based
upon the issues of the time; or a universal
one such as growing-up, as portrayed in
Caddie Woodlawn . The truth of the story
should be more than the mere excitement of
historic events. Finally, historical fiction for
children usually has a hero who is a boy or
girl experiencing the life of his time as a
child. Children identify more readily with
other children, than with adults. The child
222 - Knowing Children's Literature
character should be believable. This means
that an author of historical fiction for boys
and girls must not only be thoroughly
grounded in the history of the period he
wishes to describe, but he must have a thor-
ough understanding of childhood.
Many books of historical fiction for chil-
dren meet these established criteria — there
are some that do not. Because the number of
outstanding books in this popular field defies
description, only selected examples of some
of the best historical fiction will be discussed.
It is hoped the reader will develop his own
list of favorites. This section begins with de-
scriptions of books which will appeal to the
youngest reader, and continues with those
for the more mature reader. There are many
more books written with American back-
grounds than with other historical settings.
Historical Fiction — The New World
ALICE DALGLIESH
In her book. The Courage of Sarah Noble,
Alice Dalgliesh has told the true and inspir-
ing story of eight-year-old Sarah who went
into the wilderness with her father to cook
for him while he built a cabin. There were
many times when Sarah had to say to herself,
as her mother had said to her when she left
home, “Keep up your courage, Sarah Noble!”
Sarah has reason to remember her mother's
words when she hears the wolves howl out-
side the campfire or when alone one day she
is suddenly surrounded by Indian children.
But the real test of her courage is faced when
her father tells her that he must leave her
with Tall John, a friendly Indian, while he
returns to Massachusetts for the rest of the
family. Simply but movingly, Miss Dalgliesh
describes the parting of Sarah and her father:
The frost was on the ground when Sarah stood,
holding Tall John's hand, to watch her father
start on his journey. Her cloak was wrapped
tightly around her. She was not saying anything,
but her mind, always busy, was making pictures.
Trees . . . trees . . . dark trees . . . narrow paths
through the forest . . . wolves . . . bears. Suppose
her father never came back and she had to live
with Indians all her life?
Now her father was mounting Thomas. Sarah
patted the horse’s nose. His long, solemn face
seemed very dear to her.
John Noble rode quickly away — turning once,
twice, three times to wave to a very small girl in
a red-brown cloak. 26
In Adam and the Golden Cock, Miss
Dalgliesh has told the story of a boy during
the American Revolution. Added to the ex-
citement of the arrival of the regiments of
Rochambeau is the new doubt and suspicion
which Adam feels for his friend Paul, a
Tory’s son. This book provides a clear sense
of history in the making, but the plot is not
as interesting or well-defined as in The
Courage of Sarah Noble. Leonard Weisgard
has richly illustrated both of these books.
MIRIAM MASON
Children in third and fourth grades enjoy
reading the simple and amusing stories of
pioneer life by Miriam Mason. Susannah,
the Pioneer Cow is the story of a rather “un-
willing pioneer” who much preferred the
lush green grass of Virginia to the weedy
pasture of Indiana. After her adventures with
wolves, snakes, and a swamp, Susannah, the
cow, decides that her log barn in Indiana is
as comfortable and pleasant as the large
barn back home in Virginia. The simple but
exciting text and the many lovely pictures
by the Petershams have made this a well-
loved book for the younger reader. In Young
Mr. Meeker and His Exciting Journey to
Oregon, Miriam Mason tells an unusual and
diverting story of young Mr. Meeker who is
just one month old when he begins his five
month expedition by ox-cart to Oregon in
1852. This easy-to-read book is based upon
the authentic story of Ezra Meeker’s wagon
train. Caroline and Her Kettle Named Maud
is another humorous and well-told pioneer
tale by the same author. Caroline is a pioneer
tomboy who longs for a real gun for her
birthday. She receives a copper kettle, but it
proves just as effective as a gun in capturing
the wolf which threatens the family cows.
“Alice Dalgliesh, The Courage of Sarah Noble.
New York: Charles Scribner's Sons, 1954. p. 37-38.
Children Identify with Their Historical Heritage - 223
Miriam Mason has a special talent for pre-
senting the everyday life of the pioneers in a
readable and thoroughly satisfying manner
for eight- and nine-year-olds.
MARGUERITE DE ANGELI
Marguerite de Angeli has written fiction
with settings in both the old and new world.
She is known for her many books about
religious or regional minorities. Some of
these have historical backgrounds. Elin's
Amerika describes the life of children in the
settlement of New Sweden on the Delaware
in 1648. Thee, Hannah ! is concerned with a
story of a little Quaker girl who helps a slave
to escape. In Copper Toed Boots, Marguerite
de Angeli has told the warm and amusing
story of her father’s boyhood days at the turn
of the century. No matter what period or
place Marguerite de Angeli describes, she
makes history live for her readers.
JEAN FRITZ
Jean Fritz has told the poignant story of
lonely ten-year-old Ann Hamilton who was
the only girl in the wilderness of early West-
ern Pennsylvania. The title of this book, The
Cabin Faced West, describes her father’s at-
titude about the family’s new adventure.
“ ‘We’ve cast our lot with the West,’ her
father had said as he stood in the doorway
the day the cabin was completed. ‘And we
won't look back.’ ” 27 Ann longed for her
cousin Margaret and the girl-fun she had
enjoyed back on the other side of the Alle-
gheny Mountains in Gettysburg. She grows
to hate the two words “some-day” as she hears
them again and again. Someday she would
have books to read, someday they would have
windows in the cabin, and someday there
would be a special occasion to use the linen
table cloth and the lavender flowered plates
which her mother kept in her chest. All the
“some-days” seemed so very far away to Ann.
At last, however, a special occasion did hap-
pen. George Washington stopped at the
Hamilton cabin for dinner. Ann wore rib-
"Jean Fritz, The Cabin Faced West. New York:
Coward-McCann, Inc., 1958. p. 10.
bons in her hair and set the table in the way
she had longed to do. This final episode is
based upon fact and really happened to Ann
Hamilton who was the author’s own great-
great grandmother. There is a warm spirit
pervading the family relationships in this
story. Ann’s teasing big brothers are really
very fond of her. Ann, herself, affectionately
calls her baby brother “Johnny-Cake.” But it
is Ann’s mother who truly understands the
loneliness of an isolated little girl. She does
not scold when she realizes Ann has taken
two of her lavender plates to the woods to
play house; instead, she joins Ann and her
doll, Semanthie, in their tea party under the
yellow elm leaves. This is a delightful story
that will give modern children some under-
standing and feeling for the life of the wil-
derness settlers.
ELIZABETH COATSWORTH
The name of Elizabeth Coatsworth is almost
synonymous with that which is fine in his-
torical writing for children. There are seven
books in her “Once-U pon-a-T ime-in-Amer-
ica” Series, one for each fifty year period be-
ginning with 1600 to 1650. In chronological
order their titles are First Adventure, The
Wishing Pear, Boston Bells, Aunt Flora, Old
Whirlwind, The Sod House, and Cherry Ann
and the Dragon Horse . Some of these are for
younger children. Boys enjoy Elizabeth
Coatsworth’s Dancing Tom and The Ped-
dler's Cart.
The most popular of Elizabeth Coats-
worth’s books are the Sally stories. The series
begins when Sally is a young girl of seven or
eight and ends with a grown-up attractive
young lady. The stories are exciting and
beautifully written. In the first book. Away
Goes Sally, Sally and her two uncles and
three aunts travel from Massachusetts to
Maine in a little house on runners drawn by
six yoke of oxen. In Five Bushel Farm, An-
drew Patterson comes to live at Sally’s house.
As a result of the children’s friendship with
the Indians, the tribe gives up its intention
of seizing back the land by force. When they
agree to accept a payment each year of five
224 - Knowing Children's Literature
bushels of cornmeal for their hunting rights,
Sally names the farm Five Bushel Farm. In
The Fair American , Sally is invited to go
with Andy’s father, Captain Patterson, on a
summer cruise. The French Revolution is in
progress and Sally is instrumental in saving
the life of Pierre, whose father had been ex-
ecuted in Paris. The White Horse is another
story of an exciting voyage in which the pas-
sengers and crew are captured by Algerian
pirates. Sally pleases the moody Sultan by
her courage and he grants her a beautiful
white horse in token of his friendship. In
The Wonderful Day , Sally and Andy save
their Uncle Joseph’s fortune by exposing Mr.
Stanforth and his counterfeit money. The
Wonderful Day ends, and so too does a won-
derful series of life in early America. The
illustrations of Helen Sewell also add to the
attractiveness of this series.
home is in Wisconsin, the wild Kansas coun-
try as described in Little House on the
Prairie, in the Minnesota of On the Banks of
Plum Creek, or By the Shores of Silver Lake
in Dakota Territory. Children who read
these books sense the same feelings of love
and family solidarity as experienced by
Laura in the closing pages of The Little
House in the Big Woods:
But Laura lay awake a little while, listening to
Pa’s fiddle softly playing and to the lovely sound
of the wind in the Big Woods. She looked at Pa
sitting on the bench by the hearth, the firelight
gleaming on his brown hair and beard and glisten-
ing over the honey-brown fiddle. She looked at
Ma, gently rocking and knitting.
She thought to herself, “This is now.”
She was glad that the cosy house, and Pa and
Ma and the firelight and the music, were now.
They could not be forgotten, she thought, be-
LAURA INGALLS WILDER
No books of historical fiction are more loved
than Mrs. Wilder’s “The Little House”
books. These stories, like the Sally stories,
tell of the growing up of the Ingalls girls and
the Wilder boys. In the first book of the
series, Little House in the Big Woods, Laura
is only six years old; the last two books Little
Town on the Prairie and These Happy
Golden Years tell of Laura’s teaching and
her marriage. Based upon the author’s own
life, these books portray the hardships and
difficulties of pioneer life in the 1870’s and
1880’s, and describe the fun and excitement
which was a part of the daily living.
Throughout all the stories, the warmth and
security of family love runs like a golden
thread which binds the books to the hearts
of their readers. There are floods, blizzards,
grasshopper plagues, bears and Indians,
droughts and the fear of starvation; but there
is the wonderful Christmas when Laura re-
ceives her rag doll, the new house with real
windows, trips to town, and dances. Best of
all, there are the long winter evenings of fire-
light and the clear singing of Pa’s fiddle.
These mean love and security whether their
A tender Christmas scene exemplifies the warmth
and simple joy of pioneer living. Cover, Little
House in the Big W'oods by Laura Ingalls Wilder.
Illustrated by Garth Williams. Harper, 1953.
Children Identify with Their Historical Heritage - 225
cause now is now. It can never be a long time
ago. 28
A new uniform edition of all eight of Mrs.
Wilder’s books was published in 1953. These
books have been profusely illustrated by
Garth Williams’ black-and-white sketches.
He has captured the excitement and terror
of many of the episodes in the books, but he
also conveys the tenderness, love, amusement,
and courage which were necessary requisites
to the life of the early settlers.
CORNELIA MEIGS
One of Cornelia Meigs’ earliest books, The
Willow Whistle, is still very popular with
boys and girls in fourth and fifth grade. It
tells the exciting story of Mary Anne who is
taken away to visit the Indians by a friendly
chief as a way of testing her father’s friend-
ship. His tribe is suddenly attacked by the
unfriendly Arickarees. Mary Anne’s father,
her friend Eric, and the Sioux chief search
diligently for her. Eric finally finds her by
the sound of the willow whistle which he
had taught her to make. This is an exciting
story, but its true message is that of the im-
portance of understanding and cooperation
between races. It has much to say to the mod-
ern-day child. Other exciting stories by
Cornelia Meigs include Master Simon’s Gar-
den , New Moon, Wind in the Chimney, Fair
Wind to Virginia and The Dutch Colt. The
last one would delight horse lovers as it re-
lates the adventure of Hugh’s search for the
stolen colt of William Penn. All the books
by Cornelia Meigs are well-written with ex-
citing plots. They include more description
than some children enjoy, but they give a
definite feeling for the time and place of their
historical period.
CAROL RYRIE BRINK
One of intermediate-grade children’s fa-
vorite books of historical fiction is Carol
Ryrie Brink’s Caddie Woodlawn . While this
is a story of pioneer life in Wisconsin during
“Laura Ingalls Wilder, Little House in the Big
Woods. New York: Harper & Brothers, 1953. p. 238.
the Civil War period, it is primarily the story
of the growing-up of tomboy Caddie. Caddie
had been a frail baby and her father had
persuaded her mother to allow her to be
raised more freely than her older sister, Clara,
who was restricted by the rules of decorum
for young ladies. Instead, Caddie was free to
run about the half-wild Wisconsin frontier
with her two brothers. Their escapades and
adventures read like a pioneer “Tom
Sawyer.” However, the pranks they played
on their cousin Annabelle from the city were
harder on Caddie than Annabelle. Gradually,
but surely, Caddie grows up. As she waits for
the yearly visit of the Circuit Rider, many
thoughts pass through her mind.
“What a lot has happened since last year when
I dropped the nuts all over the dining-room floor.
How far I’ve come! I’m the same girl and yet not
the same. I wonder if it’s always like that? Folks
keep growing from one person into another all
their lives, and life is just a lot of everyday ad-
ventures. Well, whatever life is, I like it.’’
The late afternoon sun flooded her face with
golden light. Looking toward the approaching
rider, her face was turned to the west. It was al-
ways to be turned westward now, for Caddie
Woodlawn was a pioneer and an American. 29
WILLIAM O. STEELE
William Steele writes vividly in The Lone
Hunt, of a boy’s yearning to take a man’s
part in the last buffalo hunt held in Tennes-
see in 1810. Ever since his father died, Yance
Caywood had had to help his mother with
fetching, carrying, and hoeing while his
older brother did the plowing and hunting.
At last he is allowed to go on the buffalo
hunt taking along his well-loved hound dog,
Blue. It is a long trail and one by one the
men drop out. When the snow begins, the
last one turns back, but not Yance. His lone
hunt through the wilderness takes courage
and amazing ingenuity and fortitude. Yance
kills his buffalo but loses his dog to the frozen
river. Pride in h is accomplishment is over-
shadowed by his grief for his dog. Yance is
20 Carol Ryrie Brink, Caddie Woodlawn. New York:
The Macmillan Company, 1936. p. 269-270.
226 - Knowing Children's Literature
grown-up when he returns from his lone
hunt.
In The Far Frontier , Mr. Steele again tells
a swiftly paced story of the Tennessee fron-
tier. This time a self-sufficient pioneer boy is
bound out, much to his disgust and disap-
pointment, to a ridiculous naturalist from
Philadelphia. Tobe slowly learns to respect
and admire Mr. Twistletree for his knowl-
edge and his courage.
It was queer. When he set out with Mr. Twistle-
tree, he'd thought learning was just a way of
getting out of work, or a weakness in the head. . . .
But it wasn't like that really. It was like — it was
like walking in a new country, when every time
you saw a hill you wanted to know what lay be-
yond it, and when every bend in a strange river
was the bend you just had to go around and see
what kind of country was there. It was a far fron-
tier just waiting for somebody to lay claim to it,
learning was. 80
The Perilous Road is a superb story of a
boy caught between the divided loyalties of
the Civil War. Chris Babson, not quite twelve,
lived in Tennessee and was certain he hated
the Union troops. When the Yankee raiders
steal his family's newly harvested crops, the
Babsons' only horse, and his new deerskin
shirt, Chris is determined to have revenge
and sets out singlehanded to do it. He is
caught in a bitter battle at dawn when the
Confederates make a surprise attack. Chris
realizes that even a Union soldier may “be a
good decent man.” He understands the full
meaning of his father's words, “Like I told
you before, war is the worst thing that can
happen to folks and the reason is it makes
most everybody do things they shouldn’t." 31
This is a stirring story which was a runner-
up for the Newbery Medal. Other titles by
the same author include The Buffalo Knife ,
Tomahawks and Trouble, Winter Danger,
Wilderness Journey and Flaming Arrows.
Most of Steele's books are easy enough for
90 William O. Steele, The Far Frontier. New York:
Harcourt, Brace & Company, 1959. p. 173.
11 William O. Steele, The Perilous Road. New York:
Harcourt, Brace & Company, 1958. p. 188-189.
fourth-graders to read independently; they
are exciting enough for all ages.
WALTER D. EDMONDS
The books by Walter D. Edmonds are also
realistic and filled with suspense. The Match-
lock Gun is based upon a true story of the
courage of a young boy who saved his mother
and baby sister by firing their old matchlock
gun at raiding Indians. In the narrative, his
mother does not give the signal to fire in
time to save herself from a tomahawk pierc-
ing her shoulder. Edward drags his uncon-
scious mother from the step of the burning
cabin and waits with Trudy for their father
to return with the militia. This is much more
than just an exciting story. The characters
seem real. The reader senses the fear and
anxiety of the parents as they hear about the
Indians. Gertrude Van Alstyne would be
safer at her mother-in-law’s house, but she
prefers to be independent. The pictures by
Paul Lantz add to the terror of this story
which is so popular with boys in the fourth
and fifth grades. A teacher questioned one
nine-year-old boy who was starting this book
for the third time that year to see if he really
wanted to read it again. He looked up at her
with glowing eyes and said, “This is the best
book I have ever read, I have to read it
again!"
Tom Whipple is the story of a Yankee lad
who decides to see something of the world,
and so goes to Russia. Once there, he is not
content until he sees the Emperor. He man-
ages to do this with considerable Yankee in-
genuity and the help of an acorn. This story
is not as exciting as The Matchlock Gun but
it is more humorous. Again, Paul Lantz did
the black-and-white and colored illustrations.
Two Logs Crossing, John HaskelVs Story
is also based upon an authentic episode, as
are all of Walter D. Edmonds’ stories. This
is an absorbing and moving story of a young
boy who goes fur trading with an Indian in
the northern woods of New York in order to
pay back his father’s debt and support his
widowed mother and brothers and sisters.
Children Identify with Their Historical Heritage - 227
Primarily, this is the story of the growing-up
of John Haskell; incidentally, it is the story
of America. For as the author states in his
foreword:
To be able to do for oneself in one’s own way
was the dream which first brought some people to
this land. There are a few people who confuse it
with becoming rich, but money is not the Ameri-
can Dream and never has been. Money can be
made of anything you choose, but a man’s life is
made of courage, independence, decency and self-
respect he learns to use. 32
LOIS LENSKI
Miss Lenski is known for her regional stories
of America and for her popular Mr. Small
books for younger children. She has written,
also, several exciting books with historical
settings. In her book, Indian Captive: the
Story of Mary Jemison, she writes the true
story of a twelve-year-old girl who was cap-
tured by the Indians and taken to live with
the Senecas. The theme of this story is the
basic conflict between Indian and white life.
Mary is treated kindly by the Indians as they
adopt her into their tribe, but she is deter-
mined to remember her white ways. Almost
without realizing it, she begins to under-
stand the Indians and to love them. When
the time comes for her to decide whether she
will remain with them or go with the English,
she elects to stay. This is an exciting and
moving story that children will not soon for-
get. Another title by the same author is
Puritan Adventure which presents a delight-
ful picture of the Puritans of the Massachu-
setts Bay Colony.
ESTHER FORBES
The story of Johnny Tremain grew out of
the research which Esther Forbes had done
for her adult biography of Paul Revere. This
is the story of a silversmith’s apprentice, a
conceited cocky young lad who is good at his
trade and knows it. The other apprentices
are resentful of his overbearing manner and
“Walter D. Edmonds, In the author’s foreword to
Two Logs Crossing, John Haskell’s Story. New York:
Dodd, Mead & Company, 1943.
determine to get even with him. Their prac-
tical joke has disastrous results, and Johnny’s
hand is maimed for life.
Out of a job and embittered, Johnny joins
his friend Rab and becomes involved in pre-
Revolutionary activities. As a dispatch rider
for the Committee of Public Safety, Johnny
meets such men as Paul Revere, John Han-
cock, and Samuel Adams. Slowly, gradually,
Johnny regains his self-confidence and over-
comes his bitterness. His friend Rab is killed
in the first skirmish of the Revolution and
Johnny is crushed, but not completely. Some-
how this greatest blow toughens his fiber and
Johnny Tremain becomes a man — a man of
fortitude and courage — a new man of a new
nation. This is a stirring story which appeals
to young people and adults. It is historical
fiction at its best.
There are many other well-written books
of historical fiction which deserve to be men-
tioned. Children in the intermediate grades
still enjoy Meadowcroft’s By Secret Railway
and Holding the Fort with Daniel Boone ,
Crawford’s delightful Hello, the Boat and
Carr’s Children of the Covered Wagon.
Older readers appreciate Field’s Calico Bush
and Hepatica Hawks; Speare’s Calico Cap-
tive and The Witch of Blackbird Pond;
Latham’s This Dear-Bought Land; and
Keith’s Rifles for Watie . These stories re-
quire mature reading ability, however.
Historical Fiction — Old World
There are fewer stories with old-world set-
tings than those of the new world. Some of
the most distinguished are identified in the
next few pages.
CLYDE BULLA
In The Sword in the Tree, Clyde Bulla has
presented the story of a boy who saved his
father and Weldon Castle by bravely going
to King Arthur. Through treachery, Shan’s
uncle makes his own brother a captive and
takes control of the castle. Young Shan and
his mother escape and make the dangerous
trip to King Arthur’s court. Sir Gareth is
r i
' TT
THE DOOR IN THE WALL
A mural of textured cloth interprets mediaval life described in historical fiction. Created
by Ann Ritchie, student, Purdue University.
sent back with Shan to investigate. The uncle
has dismissed all of the trusted servants, so
no one recognizes Shan when he returns ex-
cept old Napper, a deaf and dumb servant.
By remembering where he hid his father’s
sword in a tree, Shan establishes his identity
as rightful owner of Weldon Castle. This is
an easy reading book with excitement on
every page. It has more than just a lively
plot, however, for it presents an interesting
picture of the justice of the times.
JANICE HOLLAND
In Christopher Goes to the Castle, Holland
has presented the adventures of a page boy
in the days when knights were bold. This is
a simple story of a boy’s love for his beautiful
white horse and his almost unbearable grief
when misfortune separates them. The spirit
of the times is presented in the text of this
story of the training of a knight. It is cap-
tured in large colored pictures which faith-
fully present scenes of both the interior and
exterior of the castle. Boys will enjoy the
detailed drawings of Kentsford Castle and
the Duke of Kentsford in his armor mounted
on his white horse, splendid with its scarlet
brocade trappings. The labels will be useful
for those children who wish to make models
or pictures of medieval days.
MARGUERITE DE ANGELI
Marguerite de Angeli has written many
books, but her finest is The Door in the Wall,
Newbery award winner for 1950. Set against
a background of fourteenth-century England,
Mrs. de Angeli has painted in words and
pictures the dramatic story of Robin, crip-
pled son of Sir John de Bureford. Robin’s
father has gone off to the Scottish wars, his
mother is in service to the Queen, and Robin
is to go to the castle in the north to serve as
a page to Sir Peter de Lindsay. He becomes
ill with the plague however and is taken to
the monastery by Brother Luke. There
Robin learns many things: to whittle, to
Children Identify with Their Historical Heritage - 229
swim, to read, to write, and above all to
have patience — all “doors in the wall,” ac-
cording to Brother Luke. For “whether
thou’lt walk soon I know not. This I know.
We must teach thy hands to be skillful in
many ways, and we must teach thy mind to
go about whether thy legs will carry thee or
no. For reading is another door in the wall,
dost understand, my son?” 33 Finally Robin
is well enough to travel to Peter's castle. Dur-
ing a siege of the castle Robin finds a way
to aid his king. Robin, or Sir Robin as he
becomes for his exploits, is reunited with his
father and mother. This is a beautiful book,
in format and text. Mrs. de Angeli visited
England and saw many of the churches,
castles, and inns which she has portrayed in
the background of her pictures. The pag-
eantry of the medieval days and the hard-
ships of living in that period are all conveyed
in The Door in the Wall.
A trip to Scotland gave her the material
for Black Fox of Lorne, the story of Norse
twins who seek to avenge their father’s death
in Scotland during the tenth century. The
plot revolves around the maneuvers of the
boys to keep their double identity a secret
from their enemies. After many exciting ad-
ventures the boys and their mother are re-
united and converted to Christianity. Their
deception serves them well and their father
is avenged. This is a longer and more difficult
book than Door in the Wall . The individual
character of each of the twins never emerges.
Boys will enjoy the excitement and the mys-
tery of the plot.
ELIZABETH JANET GRAY
Thirteenth century England is the setting
for the Newbery Award winner, Adam of the
Road by Elizabeth Janet Gray. It is the story
of Adam, the son of a minstrel, his father,
and Adam’s devoted dog, Nick. On their way
to the great Fair of St. Giles, Nick is stolen.
In the frantic chase which follows, Adam is
separated from his father. It takes a whole
long winter to find both Nick and Roger
“Marguerite de Angeli, The Door in the Wall.
New York: Doubleday & Company, Inc., 1949. p. 28.
again. Adam has many adventures and some
disasters but he learns that the road is home
to the minstrel and that people generally
are kind. This story is exciting and authen-
tic. Gray’s characterization of Adam is very
well drawn, showing that time and years
don’t change the universality of the nature
of a boy. While the story has action, it also
includes many thoughtful commentaries on
life. In the following quote, Adam has been
embarrassed by his own stupid behavior in
front of Lady Emilie. The lady had laughed
at him and one of her admirers has asked
Adam how he managed to make her do this:
Adam hesitated. Then he told the story. He
exaggerated it a little. He played the sour notes
on his harp and he made them sound even worse
than they had. The young squire, who had been
looking rather unhappy, threw back his head and
shouted with laughter. Adam threw back his head
too and laughed, strangely eased of pain. For the
first time in his life he had played the part of an
oyster. He had taken the bit of grit that was
scratching him and made something of it that was
comfortable to him and pleasing to someone out-
side. 34
The black-and-white sketches by Robert
Lawson enhance the feeling for both time
and place which Miss Gray has so success-
fully portrayed by her own word pictures.
ROSEMARY SUTCLIFF
More mature readers will enjoy the fine his-
torical fiction by the English author, Rose-
mary Sutcliff. Miss Sutcliff has vividly por-
trayed the period of Roman Britain in her
books, The Eagle of the Ninth , The Silver
Branch and The Lantern Bearers . In The
Armourer's House she describes London dur-
ing the reign of Henry VIII and in Warrior
Scarlet she writes of England during the
Bronze Age. She recreates an historical per-
iod with authentic detail and excitement for
living. Her characterizations are superb for
she seems to have the ability to look into the
hearts and minds of these ancient peoples.
Miss Sutcliff ’s books speak of history but
“Elizabeth Janet Gray, Adam of the Road. New
York: The Viking Press, 1942. p. 63.
230 Knowing Children's Literature
they also speak prophetically of the world
today. In The Lantern Bearers, Aquila, the
last of the Roman Auxiliaries discusses the
latest victory over the barbarians with an old
physician. Eugenus answers him:
I sometimes think that we stand at sunset
It may be that the night will close over us in the
end, but I believe that morning will come again.
Morning always grows again out of the darkness,
though maybe not for the people who saw the sun
go down. We are the Lantern Bearers, my friend;
for us to keep something burning, to carry what
light we can forward into the darkness and the
wind. 30
Fine historical fiction can in its own way
be a lantern bearer, too, casting light into
the shadows of the past and illuminating the
way ahead. Children are richer for knowing
their historical heritage. They are fortunate
to be introduced to it through the artistry of
the authors' books described in this chapter.
SUMMARY
Children may obtain information and appre-
ciation of their historical heritage by reading
the many varied and expertly written books
in this field. The new phenomena of chil-
dren's literature, the attractive, factual book,
is making its appearance in straightforward
presentations of history. Well-written biogra-
phies and biographical series will help chil-
dren to identify with great lives of the past.
Books of historical fiction may recreate
the atmosphere, spirit, and excitement of
another age. The past is not dead, it is a
part of the living heritage of each one of us.
But through books children may vicariously
enjoy the joys and hardships of previous
generations.
Teachers will want to use these books to
enrich and extend the social studies. But
many of these books need no justification for
their use — they represent literature for chil-
dren at its finest.
“Rosemary Sut cliff, The Lantern Bearers. New
York: Henry Z. Walck, Inc., 1959. p. 250.
SUGGESTED ACTIVITIES
1. Using the criteria established in this
chapter,
a) Compare three factual books of history.
b) Compare three biographies of the same
person.
c) Compare three historical fiction books
of the same period.
2. Assume you were guiding a study of the
pioneers in the third grade. Make an
annotated list of the factual, biographical,
and fictional books you would want to use.
3. Compare America's Paul Revere by Esther
Forbes and Johnny Tremain by the same
author. What are the values of each book?
Which one gives a better picture of the
times? Which one would children prefer?
4. Compare and contrast Ben and Me by
Lawson, Judson’s Benjamin Franklin and
Daugherty’s Poor Richard. What are the
strengths and appeals of each book?
5. Compare some of the recent factual books
in history with children’s social-studies
texts. How are they alike, different?
6. Ask a group of fourth or fifth graders to
each make a list of their ten favorite
books. What percentage of these can be
classified as historical in nature?
7. Using the pattern developed by Genevieve
Foster in her “World” books, outline the
events throughout the world which have
occurred in your lifetime. Would such a
project help children recognize history in
the making?
8. What insights and understandings of
child development may be derived from
reading the Wilder books?
RELATED READINGS
Arbuthnot, May Hill. Children and Books. Revised
Edition. Chicago: Scott Foresman & Company,
1957.
Chapter 18 of this book gives a comprehensive
account of biography for children. Historical fic-
tion is discussed in Chapter 16, pages 432-450. Both
these sections of Mrs. Arbuthnot's book are well-
written and clearly organized.
Children Identify with Their Historical Heritage - 231
Jarolimek, John. Social Studies in Elementary Educa-
tion. New York: The Macmillan Co., 1959.
“Historical Elements in the Social Studies” is the
title of Chapter ll f pages 250-267. Jarolimek dis-
cusses the place of history in the social studies cur-
riculum. He includes a brief discussion of reading
materials and some consideration of children's time
concepts.
Michaelis, John U. Social Studies for Children in a
Democracy. Second Edition. Englewood Cliffs, N. J.:
Prentice- Hall, 1956.
Michaelis discusses the use of reading materials and
literature in the social studies curriculum in Chap-
ter 12. He suggests specific techniques which
teachers should keep in mind as they guide chil-
dren’s reading in this field. A sound point of view
on the teaching of social studies.
Miller, Bertha Mahony and Elinor Whitney Field.
Newbery Medal Books: 1922-1955. Boston: The
Horn Book, 1955.
The acceptance speech of Elizabeth Janet Gray for
her award winning book Adam of the Road is well
worth reading. Titled “History is People,” the
speech describes her philosophy of writing his-
torical fiction for young people. May Massee's
biographical sketch of Elizabeth Janet Gray is also
interesting reading.
Smith, Lillian H. The Unreluctant Years. Chicago:
American Library Association, 1953.
Historical fiction is discussed in Chapter Eleven.
Careful analysis of some of the classics of historical
fiction for children reveals criteria for evaluation
of today's literature.
Tooze, Ruth and Beatrice P. Krone. Literature and
Music as Resources for Social Studies. Englewood
Cliffs, N. J.: Prentice Hall, 1955.
An excellent guide to the selection of related ma-
terials which can be utilized in social studies units.
Suggests factual books of history, biography, and
historical fiction for use with particular units of
study.
CHAPTER REFERENCES
Adams, Samuel Hopkins. The Pony Express. Illus-
trated by Lee J. Ames. New York: Random House,
Inc., 1950.
d’Aulaire, Ingri and Edgar (authors-illustrators) .
Abraham Lincoln. Revised edition. New York:
Doubleday Sc Company, Inc., 1957.
Benjamin Franklin. New York: Doubleday &
Company, Inc., 1950.
Buffalo Bill. New York: Doubleday & Com-
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Columbus. New York: Doubleday Sc Company,
Inc., 1955.
George Washington. New York: Doubleday
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Leif, the Lucky. New York: Doubleday Sc
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Pocahontas. New York: Doubleday & Com-
pany, Inc., 1949.
Averill, Esther H. Cartier Sails the St. Lawrence .
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Harper Sc Brothers, 1956.
Daniel Boone. Illustrated by Feodor Rojan-
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Baker, Nina Brown. Amerigo Vespucci. Illustrated
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Big Catalogue: the Life of Montgomery Ward.
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Juarez: Hero of Mexico. Illustrated by Marian
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Lenin. Illustrated by Louis Slobodkin. New
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Nickels and Dimes: the Story of F. W. Wool-
worth. Illustrated by Douglas Gorsline. New York:
Harcourt, Brace Sc Company, 1954.
Peter the Great. Illustrated by Louis Slobod-
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Pike of Pike’s Peak. Illustrated by Richard
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Simon Bolivar. Illustrated by Joseph Stefanelli.
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Sir Walter Raleigh. New York: Harcourt,
Brace & Company, 1950.
Story of Abraham Lincoln. Illustrated by
Warren Baumgartner. New York: Grosset & Dun-
lap, Inc., 1952.
Story of Christopher Columbus. Illustrated by
David Hendrickson. New York: Grosset & Dunlap,
Inc., 1952.
Sun Yat-sen. Illustrated by Jeanyee Wong.
New York: Vanguard Press, 1946.
Bishop, Claire Huchet. Twenty and Ten. Illustrated
by William Pene du Bois. New York: The Viking
Press, 1952.
Blackstock, Josephine. Songs For Sixpence. Illustrated
by Maurice Bower. Chicago: Follett Publishing
Co., 1955.
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Southwest. Illustrated by Althea Karr. New York:
William Morrow Sc Company, Inc., 1951.
The Cherokee, Indians of the Mountains.
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The Chippewa Indians , Rice Gatherers of the
Great Lakes. Illustrated by Patricia Boodell. New
York: William Morrow & Company, Inc., 1955.
The Crow Indians, Hunters of the Northern
232 - Knowing Children’s Literature
Plains. Illustrated by Althea Karr. New York: Wil-
liam Morrow & Company, Inc., 1953.
The Delaware Indians, Eastern Fishermen
and Farmers. Illustrated by Patricia Boodell. New
York: William Morrow & Company, Inc., 1953.
Norsemen of the Western Plateaus, The Nez
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York: William Morrow & Company, Inc., 1957.
Indians of the Longhouse, the Story of the
Iroquois. Illustrated by Althea Karr. New York:
William Morrow & Company, Inc., 1950.
The Mission Indians of California. Illus-
trated by Althea Karr. New York: William Morrow
& Company, Inc., 1956.
The Navajo, Herders, Weavers, and Silver-
smiths. Illustrated by Patricia Boodell. New York:
William Morrow & Company, Inc., 1958.
The Pueblo Indians, Farmers of the Rio
Grande. Illustrated by Patricia Boodell. New York:
William Morrow & Company, Inc., 1955.
The Sea Hunters, Indians of the Northwest
Coast. Illustrated by Althea Karr. New York: Wil-
liam Morrow & Company, Inc., 1951.
The Seminole Indians. Illustrated by Althea
Karr. New York: William Morrow & Company,
Inc., 1954.
Bliven, Bruce. The American Revolution, 1760-1783.
Illustrated by Albert Orbaan. New York: Random
House, Inc., 1958.
Boardman, Fon Wyman. Castles. New York: Oxford
University Press, 1957.
Brewster, Benjamin (Mary Elting) . The First Book
of Indians. Illustrated by Ursula Koering. New
York: Franklin Watts, Inc., 1950.
Brink, Carol Ryrie. Caddie Woodlawn. Illustrated by
Kate Seredy. New York: The Macmillan Company,
1936.
Narcissa Whitman, Pioneer to the Oregon
Country. Illustrated by Samuel Armstrong. Evans-
ton, 111.: Row, Peterson, 1950.
Buck, Pearl S. Man Who Changed China: the Story
of Sun Yat-Sen. Illustrated by Fred Castellon. New
York: Random House, Inc., 1953.
Buehr, Walter (author-illustrator) . The Crusaders.
New York: G. P. Putnam’s Sons, 1959.
Knights and Castles and Feudal Life. New
York: G. P. Putnam’s Sons, 1957.
Bulla, Clyde Robert. John Billington , Friend of
Squanto. Illustrated by Peter Burchard. New York:
Thomas Y. Crowell, 1956.
Squanto, Friend of the White Man. Illus-
trated by Peter Burchard. New York: Thomas Y.
Crowell, 1954.
The Sword in the Tree. Illustrated by Paul
Galdone. New York: Thomas Y. Crowell, 1956.
Carr, Mary Jane. Children of the Covered Wagon.
Illustrated by Bob Kuhn. Revised edition. New
York: Thomas Y. Crowell, 1957.
Carter, Hodding. Robert E. Lee and the Road of
Honor. Illustrated by William Hutchinson. New
York: Random House, Inc., 1955.
Cavanah, Frances. Abe Lincoln Gets His Chance.
Illustrated by Paula Hutchison. Skokie, 111.: Rand
McNally & Company, 1959.
Our Country's Story. Illustrated by Janice
Holland. Skokie, 111.: Rand McNally & Company,
1945.
They Knew Abe Lincoln. Illustrated by Harve
Stein. Skokie, 111.: Rand McNally 8c Company, 1952.
Coatsworth, Elizabeth. Aunt Flora. Illustrated by
Manning de V. Lee. New York: The Macmillan
Company, 1953.
Away Goes Sally. Illustrated by Helen Sewell.
Reissue. New York: The Macmillan Company,
1951.
Boston Bells. Illustrated by Manning de V.
Lee. New York: The Macmillan Company, 1952.
Cherry Ann and the Dragon Horse. Illus-
trated by Manning de V. Lee. New York: The
Macmillan Company, 1955.
Dancing Tom. Illustrated by Grace Pauli.
Reissue. New York: The Macmillan Company,
1944.
The Fair American. Illustrated by Helen
Sewell. New York: The Macmillan Company, 1940.
First Adventure. Illustrated by Ralph Ray.
New York: The Macmillan Company, 1950.
Five Bushel Farm. Illustrated by Helen
Sewell. New York: The Macmillan Company, 1939.
Old Whirlwind: A Story of Dairy Crockett.
Illustrated by Manning de V. Lee. New York: The
Macmillan Company, 1953.
The Peddler's Cart. Illustrated by Zhenya
Gay. New York: The Macmillan Company, 1956.
The Sod House. Illustrated by Manning de
V. Lee. New York: The Macmillan Company, 1954.
The White Horse. Illustrated by Helen
Sewell. New York: The Macmillan Company, 1942.
The Wishing Pear. Illustrated by Ralph Ray.
New York: The Macmillan Company, 1951.
The Wonderful Day. Illustrated by Helen
Sewell. New York: The Macmillan Company, 1946.
Comfort, Mildred Houghton. Children of the Colo-
nies. Illustrated by Charles J. Peitz. Chicago:
Beckley-Cardy Co., 1948.
Children of the Mayflower. Illustrated by
Charles J. Peitz. Chicago: Beckley-Cardy Co., 1947.
Commager, Henry Steele. America's Robert E. Lee.
Illustrated by Lynd Ward. Boston: Houghton
Mifflin Company, 1951.
The First Book of American History. Illus-
trated by Leonard Everett Fisher. New York:
Franklin Watts, Inc., 1957.
The Great Declaration. Drawings by Donald
Bolognese. Indianapolis, Ind.: The Bobbs-Merrill
Company, 1958.
Children Identify with Their Historical Heritage - 233
The Great Proclamation, Indianapolis, Ind.:
The Bobbs-Merrill Company, 1960.
Cook, Fred. The Golden Book of the American
Revolution. Adapted from American Heritage
Magazine. New York: Golden Press, 1959.
Coolidge, Olivia £. Egyptian Adventures. Illustrated
by Joseph Low. Boston: Houghton Mifflin Com-
pany, 1954.
Roman People. Illustrated by Lino Lipinsky.
Boston: Houghton Mifflin Company, 1959.
Costain, Thomas B. Mississippi Bubble. Illustrated
by Warren Chappell. New York: Random House,
Inc., 1955.
William the Conqueror. Illustrated by Jack
Coggins. New York: Random House, Inc., 1959.
Cousins, Margaret. Ben Franklin of Old Philadelphia.
Illustrated by Fritz Eichenberg. New York: Ran-
dom House, Inc., 1952.
Crawford, Phyllis. Hello , the Boat. Illustrated by
Edward Laning. New York: Holt, Rinehart and
Winston, Inc., 1938.
Crouse, Anna and Russel. Alexander Hamilton and
Aaron Burr. Illustrated by Walter Buehr. New
York: Random House, Inc., 1958.
Dalgliesh, Alice. Adam and the Golden Cock. Illus-
trated by Leonard Weisgard. New York: Charles
Scribner’s Sons, 1959.
America Begins: The Story of the Finding of
the New World. Pictures by Lois Maloy. Revised
edition. New York: Charles Scribner’s Sons, 1959.
The Columbus Story. Illustrated by Leo
Politi. New York: Charles Scribner’s Sons, 1955.
The Courage of Sarah Noble. Illustrated by
Leonard Weisgard. New York: Charles Scribner’s
Sons, 1954.
The Fourth of July Story. Illustrated by
Marie Nonnast. New York: Charles Scribner’s Sons,
1956.
Ride on the Wind. Illustrated by Georges
Schreiber. From The Spirit of St. Louis by Charles A.
Lindbergh. New York: Charles Scribner’s Sons, 1956.
The Thanksgiving Story. Illustrated by Helen
Sewell. New York: Charles Scribner’s Sons, 1954.
Daugherty, James (author-illustrator) . Abraham
Lincoln. New York: The Viking Press, 1943.
Daniel Boone. New York: The Viking Press,
1939.
The Landing of the Pilgrims. New York:
Random House, Inc., 1950.
Magna Charta. New York: Random House,
Inc., 1956.
Marcus and Narcissa Whitman. New York:
The Viking Press, 1953.
Of Courage Undaunted: Across the Con-
tinent with Lewis and Clark. New York: The
Viking Press, 1951.
Poor Richard. New York: The Viking Press,
1941.
Trappers and Traders of the Far West. New
York: Random House, Inc., 1952.
De Angeli, Marguerite, (author-illustrator) . Black
Fox of Lome. New York: Doubleday & Company,
Inc., 1956.
Copper Toed Boots. New York: Doubleday &
Company, Inc., 1938.
The Door in the Wall. New York: Doubleday
& Company, Inc., 1949.
Elin's Amerika. New York: Doubleday & Com-
pany, Inc., 1941.
Thee, Hannah! New York: Doubleday &
Company, Inc., 1949.
Dorian, Edith and W. N. Wilson. Trails West and
Men Who Made Them. New York: Whittlesey
House, 1955.
Dreany, E. Joseph. A Child's Book of Mankind
Through the Ages. New York: Maxton Publishers,
Inc., 1955.
Duvoisin, Roger (author-illustrator) . And There
Was America. New York: Alfred A. Knopf, Inc.,
1938.
The Four Corners of the World. New York:
Alfred A. Knopf, Inc., 1948.
Edmonds, Walter D. The Matchlock Gun. Illustrated
by Paul Lantz. Dodd, Mead & Co., 1941.
Tom Whipple. Illustrated by Paul Lantz.
Dodd, Mead & Co., 1942.
Two Logs Crossing: John Haskells Story.
Illustrated by Tibor Gergely. Dodd, Mead & Co.,
1943.
Field, Rachel. Calico Bush. Engraved on wood by
Allen Lewis. New York: The Macmillan Company,
1931, reissue 1946.
Hepatica Hawks. Engravings on wood by
Allen Lewis. New York: The Macmillan Company,
1932.
Fish, Helen Dean. Pegs of History. Illustrated by
Rafaello Busoni. Philadelphia: Stokes, 1943.
Fisher, Dorothy Canfield. Our Independence and the
Constitution. Illustrated by Robert Doremus. New
York: Random House, Inc., 1950.
Paul Revere and the Minute Men. Illustrated
by Norman Price. New York: Random House, Inc.,
1950.
Fletcher, Sydney E. (author-illustrator) . The Ameri-
can Indian. New York: Grosset & Dunlap, Inc.,
1954.
Forbes, Esther. America's Paul Revere. Illustrated by
Lynd Ward. Boston: Houghton Mifflin Company,
1946.
Johnny Tremain. Illustrated by Lynd Ward.
Boston: Houghton Mifflin Company, 1946.
Foster, Genevieve, (author-illustrator) . Abraham
Lincoln: An Initial Biography. New York: Charles
Scribner’s Sons, 1950.
Abraham Lincoln's World. New York: Charles
Scribner’s Sons, 1944.
234 - Knowing Children's Literature
Andrew Jackson: an Initial Biography . New
York: Charles Scribner’s Sons, 1951.
Augustus Caesar's World. New York: Charles
Scribner’s Sons, 1947.
Birthdays of Freedom. Two volumes. New
York. Charles Scribner's Sons, 1952.
George Washington's World. New York:
Charles Scribner’s Sons, 1941.
The World of Captain John Smith, 1580-
1631. New York: Charles Scribner’s Sons, 1959.
Friedman, Estelle. Digging into Yesterday. Illustrated
by Leonard Everett Fisher. New York: G. P. Put-
nam’s Sons, 1958.
Friskey, Margaret. Tad Lincoln and the Green Um-
brella. Illustrated by Lucia Patton. New York:
Oxford University Press, 1944.
Fritz, Jean. The Cabin Faced West. Illustrated by
Feodor Rojankovsky. New York: Coward-McCann,
Inc., 1958.
Gray, Elizabeth Janet. Adam of the Road. Illustrated
by Robert Lawson. New York: The Viking Press,
1944.
Gunther, John. Alexander the Great. Illustrated by
Isa Barnett. New York: Random House, Inc., 1953.
Harmer, Mabel. The True Book of Pioneers. Illus-
trated by Loran Wilford. Chicago: Childrens Press,
Inc., 1957.
Havighurst, Walter. The First Book of Pioneers:
Northwest Territory. Pictures by Harve Stein. New
York: Franklin Watts, Inc., 1959.
Hays, Wilma Pitchford. Christmas on the Mayflower.
Illustrated by Roger Duvoisin. New York: Coward-
McCann, Inc., 1956.
Pilgrim Thanksgiving. Illustrated by Leonard
Weisgard. New York: Coward-McCann, Inc., 1955.
Heal, Edith. The First Book of America. Illustrated
by Fred Collins. New York: Franklin Watts, Inc.,
1952.
Hofsinde, Robert (Gray-Wolf) (author-illustrator) .
The Indian and His Horse. New York: William
Morrow & Company, Inc., 1960.
Indian Beadwork. New York: William Mor-
row & Company, Inc., 1958.
Indian Games and Crafts. New York: William
Morrow & Company, Inc., 1957.
Indian Picture Writing. New York: William
Morrow & Company, Inc., 1959.
Indian Sign Language. New York: William
Morrow & Company, Inc., 1956.
The Indian's Secret World. New York: Wil-
liam Morrow & Company, Inc., 1955.
Hogben, Lancelot. How the World Was Explored.
Illustrated by Marie Neurath. New York: Lothrop,
Lee & Shepard Co., Inc., 1951.
Holbrook, Stewart H. America's Ethan Allen. Pictures
by Lynd Ward. Boston: Houghton Mifflin Com-
pany, 1949.
Holland, Janice (author-illustrator) . Christopher
Goes to the Castle. New York: Charles Scribner's
Sons, 1957.
Hello George Washington . Nashville, Tenn.:
Abingdon Press, 1958.
They Built a City: the Story of Washington ,
D. C. New York: Charles Scribner’s Sons, 1953.
Holling, Holling C. and Lucille (authors-illustrators) .
The Book of Indians. New York: Platt & Munk,
Inc., 1935.
Holling, Holling C. (author-illustrator) . The Tree
in the Trail. Boston: Houghton Mifflin Company,
1942.
Household, Geoffrey. The Exploits of Xenophon.
Illustrated by Leonard Everett Fisher. New York:
Random House, Inc., 1955.
Israel, Marion. Apaches. Illustrated by Harry Tim-
mins. Chicago: Melmont Publishers, 1959.
Dakotas. Illustrated by Paul Souza. Chicago:
Melmont Publishers, 1959.
Johnson, Gerald White. America Grows Up. Illus-
trated by Leonard Everett Fisher. New York: Wil-
liam Morrow & Company, Inc., 1960.
America Is Born. Illustrated by Leonard
Everett Fisher. New York: William Morrow &
Company, Inc., 1959.
Judson, Clara Ingram. Abraham Lincoln, Friend of
the People. Drawings by Robert Frankenberg.
Kodachromes of the Chicago Historical Society
Lincoln dioramas. Chicago: Follett Publishing
Company, 1950.
Andrew Jackson, Frontier Statesman. Illus-
trated by Lorence F. Bjorklund. Chicago: Follett
Publishing Company, 1954.
George Washington, Leader of the People.
Illustrated by Robert Frankenberg. New York:
Follett Publishing Company, 1951.
James Jerome Hill. Illustrated by Keith Ward.
Evanston, 111.: Row, Peterson, 1950.
Mr. Justice Holmes. Illustrated by Robert
Todd. Chicago: Follett Publishing Company, 1956.
Theodore Roosexfelt, Fighting Patriot. Illus-
trated by Lorence F. Bjorklund. Chicago: Follett
Publishing Company, 1953.
Thomas Jefferson, Champion of the People.
Illustrated by Robert Frankenberg. Chicago: Follett
Publishing Company, 1952.
Kantor, MacKinlay. Gettysburg. Illustrated by Don-
ald McKay. New York: Random House; Inc., 1952.
Lee and Grant at Appomattox. Illustrated by
Donald McKay. New York: Random House, Inc.,
1950.
Kay, Helen. Lincoln: a Big Man. Illustrated by
Arthur Polonsky. New York: Hastings House,
Publishers, Inc., 1958.
Keith, Harold. Rifles for Watie. New York: Thomas
Y. Crowell, 1957.
Kjelgaard, Arthur. Coming of the Mormons. Illus-
Children Identify with Their Historical Heritage - 235
trated by Stephen J. Voorhies. New York: Random
House, Inc., 1955.
Explorations of Pere Marquette. Illustrated
by Stephen J. Voorhies. New York: Random House,
Inc., 1951.
Lancaster, Bruce. The American Revolution. Illus-
trated by Lee J. Ames. New York: Doubleday &
Company, Inc., 1957.
Latham, Jean Lee. Carry On , Mr. Bowditch. Illustra-
ted by John O’Hara Cosgrave II. Boston: Houghton
Mifflin Company, 1955.
Medals for Morse. Illustrated by Douglas
Gorsline. New York: Aladdin, 1954.
This Dear-Bought Land. Pictures by Jacob
Landau. New York: Harper & Brothers, 1957.
Trail Blazer of the Seas. Illustrated by Victor
Mays. Boston: Houghton Mifflin Company, 1956.
Young Man in a Hurry. Illustrated by Victor
Mays. New York: Harper & Brothers, 1958.
Lawson, Robert (author-illustrator) . Ben and Me.
Boston: Little, Brown & Company, 1939.
Mr. Revere and I. Boston: Little, Brown Sc
Company, 1953.
Watchwords of Liberty, a Pageant of Ameri-
can Quotations. Revised edition. Boston: Little,
Brown & Company, 1957.
Lenski, Lois (author-illustrator) . Indian Captive.
Philadelphia: J. B. Lippincott Company, 1941.
Puritan Adventure. Philadelphia: J. B. Lip-
pincott Company, 1944.
LeSueur, Meridel. Nancy Hanks of Wilderness Road.
Illustrated by Betty Alden. New York: Alfred A.
Knopf, Inc., 1949.
Lewellen, John B. The True Book of Knights. Illus-
trated by Frances Eckart. Chicago: Childrens Press,
Inc., 1956.
Martini, Teri. The True Book of Indians. Illustrated
by Charles Heston. Chicago: Childrens Press, Inc.,
1954.
Mason, F. Van Wyck. The Winter at Valley Forge.
Illustrated by Harper Johnson. New York: Random
House, Inc., 1953.
Mason, Miriam E. Caroline and Her Kettle Named
Maud. Illustrated by Kathleen Voute. New York:
The Macmillan Company, 1951.
Kate Douglas Wiggins: the Little School-
teacher. Illustrated by Dorothy Bay ley Morse.
Indianapolis, Ind.: The Bobbs-Merrill Company,
1958.
Susannah , the Pioneer Cow. Illustrated by
Maude and Miska Petersham. New York: The Mac-
millan Company, 1941.
Young Mr. Meeker and His Exciting Journey
to Oregon. Drawings by Sandra James. Indianapo-
lis, Ind.: The Bobbs-Merrill Company, 1952.
McNeer, May Yonge. America’s Abraham Lincoln.
Illustrated by Lynd Ward. Boston: Houghton
Mifflin Company, Inc., 1957.
Armed with Courage. Illustrated by Lynd
Ward. Nashville, Tenn.: Abingdon Press, 1957.
The California Gold Rush. Illustrated by
Lynd Ward. New York: Random House, Inc., 1950.
John Wesley. Illustrated by Lynd Ward.
Nashville, Tenn.: Abingdon Press, 1951.
Martin Luther. Illustrated by Lynd Ward.
Nashville, Tenn.: Abingdon Press, 1953.
War Chief of the Seminoles. Illustrated by
Lynd Ward. New York: Random House, Inc., 1954.
McSwigan, Marie. Snow Treasure. Illustrated by Mary
Reardon. New York: E. P. Dutton & Co., Inc.,
1942.
Meadowcroft, Enid LaMonte. By Secret Railway.
Illustrated by Henry C. Pitz. New York: Thomas Y.
Crowell, 1948.
The First Year. Illustrated by Grace Pauli.
New York: Thomas Y. Crowell, 1946.
Gift of the River. Illustrated by Katherine
Dewey. New York: Thomas Y. Crowell, 1937.
Holding the Fort with Daniel Boone. Illus-
trated by Lloyd Coe. New York: Thomas Y.
Crowell, 1958.
Meigs, Cornelia. The Dutch Colt. Illustrated by
George and Doris Hauman. New York: The Mac-
millan Company. 1952.
Fair Wind to Virginia. Illustrated by John
Wonsetler. New York: The Macmillan Company,
1955.
Master Simon’s Garden. Illustrated by John
Rae. The Macmillan Company, 1929.
New Moon. New York: The Macmillan Com-
pany, 1929.
The Willow Whistle. Illustrated by E. Boyd
Smith. New York: The Macmillan Company,
1931.
Wind in the Chimney. Illustrated by Louise
Mansfield. New York: The Macmillan Company,
1934.
Miers, Earl Schenck. Billy Yank and Johnny Reb;
How They Fought and Made Up. Illustrated by
Leonard Vosburgh. Skokie, 111.: Rand McNally Sc
Company, 1959.
The Rainbow Book of American History.
Illustrated by James Daugherty. Cleveland: World
Publishing Company, 1955.
Morris, Richard B. First Book of the American Revo-
lution. Illustrated by Leonard Everett Fisher. New
York: Franklin Watts, Inc., 1956.
The First Book of the Indian Wars. Illustra-
ted by Leonard Everett Fisher. Maps by Mildred
Watlup. New York: Franklin Watts, Inc., 1959.
Moyers, William and David C. Cooke. Famous Indian
Tribes. Illustrated by William Moyers. New York:
Random House, 1954.
Neyhart, Louise A. (author-illustrator) . Henry’s
Lincoln. New York: Holiday House, 1945.
Nolan, Jeannette Covert. Abraham Lincoln. Illus-
236 - Knowing Children’s Literature
trated by Lee Ames. New York: Julian Messner,
Inc., 1953.
North, Sterling. George Washington: Frontier Colo-
nel. Illustrated by Lee Ames. New York: Random
House, 1957.
Pauli, Hertha. Lincoln's Little Correspondent. Illus-
trated by Fritz Kredel. New York: Doubleday &
Company, Inc., 1952.
Paulmier, Hilah. Abe Lincoln Anthology. Illustrated
by Lee Ames. New York: Alfred A. Knopf, Inc.,
1953.
Peattie, Donald Culross. A Child's Story of the World.
Illustrated by Naomi Averill. New York: Simon 8c
Schuster, Inc., 1937.
Petersham, Maud and Miska (authors-illustrators) .
The Silver Mace, a Story of Williamsburg. New
York: The Macmillan Company, 1956.
Story of the Presidents of the United States
of America. New York: The Macmillan Company,
1953.
Pinkerton, Robert E. The First Overland Mail. Illus-
trated by Paul Lantz. New York: Random House,
Inc., 1953.
Pistorius, Anna (author-illustrator) . What Indian
Is It? Chicago: Follett Publishing Company, 1956.
Pratt, Fletcher. The Civil War. Illustrated by Lee J.
Ames. New York: Doubleday & Company, Inc.,
1955.
The Monitor and the Merrimac. Illustrated
by John O’Hara Cosgrave II. New York: Random
House, 1951.
Randall, Ruth Painter. Lincoln's Animal Friends.
Illustrated by Louis Darling. New York: Little,
Brown 8c Company, 1958.
Reeder, Russell Potter (Colonel Red Reeder) . The
Story of the Civil War. Illustrated by Frederick
Chapman. New York: Duell, Sloan 8c Pearce, Inc.,
1958.
The Story of the Revolutionary War. Illus-
trated by Frederick Chapman. New York: Duel],
Sloan 8c Pearce, Inc., 1959.
Rich, Louise Dickinson. The First Book of the Early
Settlers. Pictures by Douglas Gorsline. New York:
Franklin Watts, Inc., 1959.
Robinson, C. A., Jr., The First Book of Ancient Rome.
New York: Franklin Watts, Inc., 1959.
Sandburg, Carl. Abraham Lincoln Grows Up. Re-
printed from Abraham Lincoln, the Prairie Years.
Illustrated by James Daugherty. New York: Har-
court, Brace 8c Company, 1928.
Scheele, William Earl (author-illustrator) . The Cave
Hunters. Cleveland. World Publishing Company,
1959.
Shapiro, Irwin, (editor) . Golden Book of America.
Illustrated. Adapted from American Heritage
Magazine. New York: Simon 8c Schuster, Inc., 1957.
Snyder, Louis Leo. The First Book of the Soviet
Union. Illustrated. New York: Franklin Watts, Inc.,
1958.
The First Book of World War I. Illustrated.
New York: Franklin Watts, Inc., 1958.
The First Book of World War II. Maps by
Leonard Derwinski. New York: Franklin Watts,
Inc., 1958.
Sobol, Donald J. The First Book of Medieval Man.
Illustrated by Lili Rethi. New York: Franklin
Watts, Inc., 1959.
Speare, Elizabeth G. Calico Captive. Illustrated by
W. T. Mars. Boston: Houghton Mifflin Company,
1957.
Witch of Blackbird Pond. Boston: Houghton
Mifflin Company, 1958.
Sperry, Armstrong (author-illustrator) . Captain Cook
Explores the South Seas. New York: Random
House, Inc., 1955.
Captain James Cook. Evanston, 111.: Row,
Peterson, 1953.
John Paul Jones, Fighting Sailor. New York:
Random House, Inc., 1955.
Voyages of Christopher Columbus. New York:
Random House, Inc., 1950.
Steele, William O. Buffalo Knife. Illustrated by Paul
Galdone. New York;. Harcourt, Brace 8c Company,
1952.
The Far Frontier. Illustrated by Paul Gal-
done. New York: Harcourt, Brace 8c Company,
1959.
Flaming Arrow. Illustrated by Paul Galdone.
New York: Harcourt, Brace 8c Company, 1957.
The Lone Hunt. Illustrated by Paul Galdone.
New York: Harcourt, Brace 8c Company, 1956.
The Perilous Road. Illustrated by Paul Gal-
done. New York: Harcourt, Brace 8c Company, 1958.
Tomahawks and Trouble. Illustrated by Paul
Galdone. New York: Harcourt, Brace 8c Company,
1955.
Wilderness Journey. Illustrated by Paul Gal-
done. New York: Harcourt, Brace & Company, 1953.
Winter Danger. Illustrated by Paul Galdone.
New York: Harcourt, Brace & Company, 1954.
Stevenson, Augusta. Nathan Hale: Puritan Boy.
Illustrated by Leslie Golstein. Indianapolis, Ind.:
The Bobbs-Merrill Company, 1959.
Stewart, George R. To California By Covered Wagon.
Illustrated by William Moyers. New York: Random
House, Inc., 1954.
Sutcliff, Rosemary Armourer's House. Illustrated by
C. W. Hodges. New York: Henry Z. Walck, Inc.,
1951.
The Eagle of the Ninth. Illustrated by C. W.
Hodges. New York: Henry Z. Walck, Inc., 1954.
Lantern Bearers. Illustrated by Charles Keep-
ing. New York: Henry Z. Walck, Inc., 1959.
Silver Branch. Illustrated by Charles Keeping.
New York: Henry Z. Walck, Inc., 1958.
Warrior Scarlet. Illustrated by Charles Keep-
ing. New York: Henry Z. Walck, Inc., 1958.
Syme, Ronald. Cortes of Mexico. Illustrated by
Children Identify with Their Historical Heritage - 237
William Stobbs. New York: William Morrow &
Company, Inc., 1951.
John Smith of Virginia. Illustrated by Wil-
liam Stobbs. New York: William Morrow & Co.,
Inc., 1951.
Vasco da Gama. Illustrated by William Stobbs.
New York: William Morrow 8c Company, Inc., 1959.
Tunis, Edwin (author-illustrator) . Colonial Living.
Cleveland. World Publishing Company, 1957.
Indians. Cleveland: World Publishing Com-
pany, 1959.
Van Loon, Hendrik (author-illustrator) . The Story
of Mankind. New York: Liveright Publishing
Corp., 1921, new enlarged edition 1951.
Van Riper, Guernsey. Lou Gehrig, Boy of the Sand
Lots. Illustrated by Paul Laune. Indianapolis, Ind.:
The Bobbs-Merrill Company, 1949.
Vinton, Iris. Story of Edith Cavell. Illustrated by
Gerald McCann. New York: Grosset & Dunlap, Inc.,
1959.
Story of John Paul Jones. Illustrated by Ed-
ward A. Wilson. New York: Grosset 8c Dunlap, Inc.,
1953.
Story of Robert E. Lee. Illustrated by John
Alan Maxwell. New York: Grosset 8c Dunlap, Inc.,
1952.
Watson, Jane Werner. The Golden History of the
World. Illustrated by Cornelius De Witt. New
York: Simon 8c Schuster, Inc., 1955.
West, Anthony. The Crusaders. Illustrated by Carl
Rose. New York: Random House, Inc., 1954.
Wheeler, Opal. Hans Andersen: Son of Denmark.
Illustrated by Henry C. Pitz. New York: E. P. Dut-
ton 8c Co., Inc., 1951.
Wheeler, Opal and Sybil Deucher. Joseph Haydn,
the Merry Little Peasant. Illustrated by Mary
Greenvalt. New York: E. P. Dutton 8c Co., Inc.,
1936.
Mozart, the Wonder Boy. Illustrated by Mary
Greenvalt. New York: E. P. Dutton 8c Co., Inc.,
1941.
White, Anne Terry. The First Men in the World.
Illustrated by Aldren Watson. New York: Random
House, Inc., 1953.
Lost Worlds: Adventures in Archaeology. New
York: Random House, Inc., 1941.
Wilder, Laura Ingalls. By The Shores of Silver Lake.
Illustrated by Garth Williams. New York: Harper
8c Brothers, 1939, revised 1953.
Farmer Boy. Illustrated by Garth Williams.
New York: Harper & Brothers, 1933, revised 1953.
Little House in the Big Woods. Illustrated by
Garth Williams. New York: Harper 8c Brothers,
1932, revised 1953.
Little House on the Prairie. Illustrated by
Garth Williams. New York: Harper 8c Brothers,
1935, revised 1953.
Little Town on the Prairie. Illustrated by
Garth Williams. New York: Harper 8c Brothers,
1941, revised 1953.
The Long Winter. Illustrated by Garth Wil-
liams. New 7 York: Harper 8c Brothers, 1940, re-
vised 1953.
On the Banks of Plum Creek. Illustrated by
Garth Williams. New York: Harper 8c Brothers,
1937, revised 1953.
These Happy Golden Years. Illustrated by
Garth Williams. New York: Harper 8c Brothers,
1943, revised 1953.
Wilson, Hazel. Story of Lafayette. Illustrated by Edy
Legrand. New York: Grosset & Dunlap, Inc., 1952.
Story of Mad Anthony Wayne. Illustrated by
Laurence Beall Smith. New York: Grosset 8c Dun-
lap, Inc., 1953.
Yates, Elizabeth. Amos Fortune, Free Man. Illustrated
by Nora S. Unwin. New York: Aladdin, 1950.
7 -Children Seek Understanding of
Self and Others
UNDERSTANDING SELF AND OTHERS
The children in Miss Winston's sixth-grade
class had flitted restlessly from one activity to
another, interrupted each other and the
teacher. Finally, Miss Winston took a book
from her desk and suggested they relax for a
time and listen to a story.
As she read, her shoulders lost some of their
tenseness, her voice became an instrument to
communicate the feelings of Aunt Anne por-
trayed in a selection from Cheaper By the
Dozen . 1 The classroom became quiet. Pencils
rested and were not being dropped. As she
finished reading the incident, one boy said,
“You really felt like Aunt Anne this morning,
didn't you, Miss Winston? You were just as
mad at us."
1 Frank B. Gilbreth and Ernestine G. Carey,
Cheaper by the Dozen. New York: Thomas Y. Crowell
Company, 1948. p % 175-181.
Miss Winston smiled as she replied, “Yes,
Pete. I was really irritated. You haven't
worked well this morning. The whole class
was unwilling to help. There were argu-
ments, clenched fists, and an undercurrent of
anger."
“But, Miss Winston," interjected Emmy
Lu, “Didn’t Aunt Anne in the story like the
children? She was very cross with them, but
they liked her."
The discussion of adult-child relationships
continued until one lanky pre-adolescent
shifted to ask, “But, you get mad at us some-
times. Do you love us. Miss Winston?"
The noon dismissal bell rang. A stillness
hovered over the group. Miss Winston looked
at the boys and girls — their eyes pleading for
the answer. Unkempt, some not very intelli-
gent, many over-age — fat, listless, the poten-
238
Children Seek Understanding of Self and Others - 239
tial delinquents from this sordid neighbor-
hood — they listened for her answer to that
question — do you love us?
A book had made it possible to bring a
feeling of unity to the classroom once more.
By means of a story the teacher relieved ten-
sions — her own and the children's. More im-
portant, there was an atmosphere of warm
friendliness and acceptance which made it
possible for these children to ask the question
all humans ask of each other and of those per-
sons important to them. “Do you love me? Can
you love me even though I live in a crowded
tenement? Even though I don't wash very
often? Even though I lose my temper and
lash out at others in my hurt? Even though I
still can't subtract very well? Who am I that
you can love?"
In building his concept of self, each person
asks these questions: What kind of person am
I? What are my roles in society to be? What
do others think of me? The self is built
through the mirrored reactions and inter-
actions with people, places, and things. Whit-
man expressed this idea that we are in the
process of becoming as we interact with the
environment:
There was a child went forth every day; and
the first object he look’d upon, that object he
became; 2
More significant than the objects are the
relationships and feelings the child experi-
ences. All that he perceives becomes a part of
him. He builds the concept that he is a
worthy person, a person who can succeed, a
person who is loved; who can, in turn, respect
and love others as he received these impres-
sions from others. In the beginning, it is his
mother and father; later, the neighbors and
the teachers become those “significant others"
who influence his development of self. Soon
it is his own peer group that plays a major
part in this process of becoming.
2 Walt Whitman, “There Was a Child Went Forth,”
Leaves of Grass. New York: David McKay Company,
Inc., 1900. p. 134.
Books in the Culture
Stories and books have long been valued as a
means of instruction and character training.
As folk tales were told by the old and re-
spected members of the group, the cultural
values were passed on to the next generation.
The Teacher of the New Testament taught
His lessons through parables or stories. In the
Colonial period, schools were established in
order that children might learn to read the
Bible. One of the first school laws was the Old
Deluder Satan Act which noted that “one
chief project of that old deluder, Satan, [is] to
keep men from knowledge of the scriptures."
Knowledge of the Bible was considered basic
to the development of character. The didac-
tic literature written for children of the
eighteenth and early nineteenth century was
solely aimed at instruction and character
training. Literature is recognized as a signifi-
cant force in the life of the individual and of
the total group.
Riesman* has analyzed the influence of lit-
erature and mass media in tradition-directed,
inner-directed, and other-directed societies.
In a tradition-directed society, songs and
stories are told by a member of the family
who changes them to fit the children and
adults who are listening. Through the folk
tale, the child learns what to do to be ad-
mired; he learns the behavior which is ac-
ceptable in that society. When a society be-
comes inner-directed, that is, when the
individual begins to seek his own code, books
assume far greater significance. Riesman
writes of this influential force in the inner-
directed society:
Doubtless the printing press alone cannot com-
pletely assure any particular form of social coer-
cion — and of course not all children, even in the
inner-directed middle class, were readers. But
print can powerfully rationalize the models which
tell people what they ought to be like. Reaching
children directly as well as through their parents
and teachers, it can take the process of socializa-
3 David Riesman, Nathan Glazer and Reuel Den-
ney The Lonely Crowd. New Haven: Yale University
Press, 1950. pp. 86-112.
240 - Knowing Children's Literature
tion out of the communal chimney corner of the
era depending on tradition-direction and pene-
trate into the private bedrooms and libraries of
the rising middle class; the child is allowed to gird
himself for the battle of life in the small circle of
light cast by his reading lamp or candle. 4
Riesman suggests that in the society with
this inner-direction, the child learns about
adult roles through reading. At this stage in
the development of the society, adult books
are taken over by children. He notes that the
danger in reading biographies of exemplary
persons and roles is that the child reads in
isolation. “There is none of the familiarity
with the hero, even the gods in the guise of
heroes, to be found in the orally mediated
myths of the society depending on tradition-
direction /’ 5 This results in a “dreadful in-
security” as to whether the child can live up
to these models.
In our present society, Riesman says chil-
dren are other-directed, that is, behavior is in
terms of expectations of others. It is no longer
the child’s task to see the adult world — mass
media ask the child to see the world as the
other child sees it. Riesman also notes that
reading and listening are communal — groups
read comics, look at TV — or if not in fact,
the shadow of the peer group hovers over the
child as he reads.
Riesman points out one result of the other-
directed child’s new understanding of the
good guys and the bad guys:
Thus we come to a paradox. The other-directed
child is trained to be sensitive to interpersonal
relations, and often he understands these with a
sophistication few adults had in the era of inner-
direction. Yet he can be strikingly insensitive to
problems of character as presented by his favorite
storytellers; he tends to race through the story for
its ending, or to read the ending first, and to miss
just those problems of personal development that
are not telltale clues to the outcome. It looks as
though the situation of group reading, of having
to sit on the jury that passes out Hooper ratings,
forces the pace for the other-directed child. He
cannot afford to linger on “irrelevant” detail or
to daydream about the heroes. To trade prefer-
*Ibid., p. 91.
8 Ibid., p. 97.
ences in reading and listening, he need know no
more about the heroes than the stamp trader
needs to know about the countries the stamps
come from. 6
Riesman cites the story of Tootle — an en-
gine who goes off the track — as an example
of literature reflecting our social values.
Adult engines manipulate the young engine
into conformity with the peer group. This
book reflects the way children are over-di-
rected today. Yet, in life, the signals are not
so clear as those given' to Tootle. Such litera-
ture may lead to false expectations of life and
present conflicting values.
From the findings of psychologists, anthro-
pologists, and sociologists, we now have more
information about the forces impinging upon
the child and his personal -social develop-
ment. However, a wide frontier in child de-
velopment remains to be explored. We know
that books alone cannot build character. We
know that each reader brings a unique back-
ground of experience to the book he reads.
As books communicate information about
the world and people and interpret social re-
lationships, they do become a part of the
reader. Growth in understanding of self and
others occurs when such communication
takes place.
Books Lead to Understanding
What part can books play in the development
of understanding of ourselves and others?
First, books can help children understand
that all behavior is caused. Eleanor Estes’
book, The Hundred Dresses, illustrates be-
havior which resulted from a child’s need for
friends and status. In Dejong’s Wheel on the
School, Dutch children come to understand
the cause of the cross and sullen behavior of
legless Janus. They realize that outward be-
havior may be only a symptom of a deeper
need. Understanding emotional responses is
difficult to achieve. A Swedish story, The
Spettecake Holiday, helps the reader under-
stand why Pelle-Goran was so cross and ir-
ritable when his mother was hospitalized.
Pelle-Goran was angry at the whole world.
6 Ibid., p. 104.
Children Seek Understanding of Self and Others - 241
He refused to obey. Unnerstad has reflected
the child’s concern which actually prompted
this bad behavior:
Pelle-Goran wanted his mother so badly, it
burned and smarted inside him when he thought
about it. He felt so sorry for her. But most of all
he felt sorry for himself, because he was so lone-
some without her . 7
This book won the Holgersson award for the
best Swedish children’s book of the year. Not
only does the author depict the inner long-
ings of a child, she weaves an active story
with elements of mystery and humor.
Second, books can help children under-
stand the basic needs which are common to
all age groups and all peoples. In Sorensen's
Miracles on Maple Hill, the need of a tense,
emotionally hurt, and tired adult is sensi-
tively portrayed. Folk and fairy tales reflect
the need for achievement and recognition.
7 Edith Unnerstad, The Spettecake Holiday. New
York: The Macmillan Company, 1958. p. 4.
Ragged Cinderella wins her prince; legend-
ary John Henry wins respect. Adults and
children alike respond to the quiet, ex-
pressive statements about friendship in A
Friend Is Someone Who Likes You. Joan
Anglund goes further in her companion vol-
ume, Love Is a Special Way of Feeling, to de-
scribe the way we recognize receiving and
giving love — man’s encompassing basic need.
Love is found in unexpected places ....
Love starts in little ways
It may begin the day
we first share our
thoughts with someone else . . . . 8
The printed page becomes an avenue to
the feelings of others. Books can help chil-
dren understand that others meet problems
in growing up — the problems of family rela-
8 Joan Walsh Anglund, Love Is a Special Way of
Feeling. New York: Harcourt, Brace & World, Inc.,
1960. Unpaged.
“It may begin the day we first
share our thoughts with some-
one else. . . .” From Love Is a
Special Way of Feeling written
and illustrated by Joan Walsh
Anglund. Harcourt, 1960.
242 - Knowing Children's Literature
tionships, of finding a place in the peer
group, of adjusting to new situations, prob-
lems related to personal handicaps.
Understanding may come as the reader
identifies, imitates, or recognizes similarities
of his problems to those of book characters.
In reading Call Me Charley, one child may
identify with Charley, the young Negro who
moves to a new neighborhood and tries to
make his place in an all white school. An-
other reader may literally stand in the shoes
of Tom who befriends the Negro. One book
may result in the identification with different
characters by different children. The style
employed in Onion John helps the older
reader identify with Andrew Rusch as he is
torn between loyalty to his father and the
itinerant John who bases action upon super-
stition instead of reality. Vicariously, a boy
may share the friendly comradeship of this
father and son. After reading a book, the
child may imitate one of the characters. One
child once set out to be like Homer Price by
imitating Homer’s ingenuity in creating in-
ventions. We cannot tell what imaginary
robes the child is wearing after he reads a
book he enjoys. Acceptance of this role play-
ing is indicated in such a book as The Brave
Cowboy by Anglund. Here a boy imagines
great experiences as a cowboy. The third way
books develop understanding is in helping
the child realize others face problems similar
to his. Literature provides opportunities of
comparing and contrasting the experiences
of others with one’s own. In The Green
Ginger far by Judson, a Chinese girl meets
the conflicting standards of an older genera-
tion from a different culture with the expecta-
tions of her modern “American” peers.
Through books the child learns that others
feel afraid in new situations. He can come to
accept his own fears as he recognizes that
familiar feeling described as Jack, in The
New Boy, enters a new classroom:
Jack's mouth felt dry and the muscles up the
backs of his legs felt tight and hard, but there was
no strength in their hardness. His stomach felt
tight, too, with an empty sort of tightness quite
different from the feeling which follows a big
dinner. 9
Books can help children recognize the
special problems which some face. As the
reader identifies with Chibi in Yashima’s
Crow Boy he, too, cowers under the school-
house; he feels left out, on the periphery of
life; for a little while he understands how it is
to be alone. If one child is the “Chibi” in his
class, he finds here a companion — one who
also suffers, yet one who finds a measure of
happiness, who finally whistles the song of
happy crows. The child who goes home to a
shabby, dirty room occupied by shiftless par-
ents and too many brothers and sisters will
find Maggie Rose a symbol of courage. In
Ruth Sawyer’s Maggie Rose — Her Birthday
Christmas, the reader shares Maggie's strug-
gle to plan a real ''birthday Christmas” for
those Bunkers — her no-account family.
As the child enjoys books he also recog-
nizes they portray expectations of society and
acceptable behavior patterns. Many Ameri-
cans going up the social-class ladder have
learned from reading stories how to behave
in the new group. Books and “slick” maga-
zines have also contributed to the conformity
we decry in American society. Yet, for many,
books have shown the way. What happens at
the opera? What does one do? In The Satur-
days, by Enright, the reader shares the won-
derful day Rush Melendy spent at the opera.
He learns what to expect and how people
behave at the opera. Literature conveys more
than manners and social graces, however.
Folk tales have been called the “social cement
of society.” Right and wrong, the true and
false, are stated repeatedly in the folk litera-
ture. The fair play and good sportsmanship
exemplified by Tunis in his modern sports
stories reinforce the code of the American
playground. Understanding of differences in
expectations is gained through such a book as
Thirty-One Brothers and Sisters by Mirsky.
Here one learns the social expectations of a
•Mary Urmston, The New Boy . New York: Double-
day 8c Company, 1950. p. 8.
Children Seek Understanding of Self and Others - 243
group in which one father has several wives,
but the values of honesty and responsibility
are the same in this culture as in ours.
Literature for children presents the prob-
lems of everyday existence— living, growing,
adjusting^ changing. Books help the reader
become aware of this growth process. De-
velopment of self concept is shown by Krauss
in Is This You? The young child builds a pic-
ture of himself as he hears the questions and
enjoys the humor of the ridiculous answers.
Literature expresses the fears, insecurities,
and joys of growing, of ever becoming a new
ME. Some books help the child realize he is
growing and changing. In Just the Right
Size, by the Kings, the young child always
seems too small to play with his brothers or to
really use the furniture. The day he realizes
he is just the right size to see crickets and to
catch grasshoppers, he understands that he is
just the right size for now. Sharing a ten-
year-old Indian boys problems helps the
reader of . . . and now , Miguel understand
this urge to grow. Miguel explains:
I am Miguel. For most people it does not make
so much difference that I am Miguel. But for me,
often, it is a very great trouble.
It would be different if I were Pedro. He is my
younger brother, only seven years old. For Pedro
everything is simple. Almost all the things that
Pedro wants, he has — without much worry. 10
Miguel thinks his older brother, Gabriel,
can also have everything he wants. Gabriel
can be president of the Future Farmers, play
basketball, shoot a rifle, and go with the
sheep to the pasture in the Sangre de Cristo
mountains. Miguel asks Gabriel how to get
all these things but Gabriel can only say, “It
takes a little time. Wait a year or two, and
it’ll be easier.” Miguel expresses the problem
of all who feel “in between”:
Both of them, they are happy.
But to be in between, not so little any more
10 Joseph Krumgold, . . . and now, Miguel. Illustra-
ted by Jean Chariot. New York: Thomas Y. Crowell,
1953. p. 1.
and not yet nineteen years, to be me, Miguel, and
to have a great wish — that is hard. 11
Good literature provides experiences in
testing reactions to emotions, in understand-
ing these surges of feeling, and in accepting
them. Loneliness and sadness are poignantly
expressed in Baldwin’s The Hermit of Crab
Island when a lonely boy loses his dog. The
quiet explanation and serenity of the lovely
blue, green and yellow pictures give reassur-
ance about the mystery of death in The Dead
Bird by Margaret Wise Brown. The children
pick up a dead bird, feel no heart beating,
“That was the way animals got when they
had been dead for some time — cold dead and
stone still with no heart beating .” 12 They
have a funeral, make a stone marker, and
carry flowers to the grave. But the children
return to play and forget the bird. Life goes
on — we need not feel guilty if we forget; the
cycle continues.
The cycle of life is beautifully expressed in
Charlotte’s Web by E. B. White. There is
sadness as Charlotte expends her final energy
and dies alone. This lovable spider has been
our friend; we shall miss her, but the under-
standing of her calm acceptance of life, birth,
and death has helped us probe this mystery
and accept this universal rhythm.
Examples of joy in living — in sharing fun,
in exploring nature, in tingling with excite-
ment — these emotions abound in literature
for children. There is the joy expressed in
Peep-lo as curious Jill finds a Plover nest.
Jane Castle’s use of space and the simple
sketches convey a feeling of warm sun on the
open beach.
The gay abandon of children playing in
the moonlight is captured by Janice Udry
and Maurice Sendak in The Moon Jumpers.
The beautiful illustrations reflect the ex-
hilarating magic of a pale moon on a summer
evening. The reader can almost feel the grass
tickle his bare feet as he reads, “The warm
night-wind tosses our hair. The wind chimes
31 Ibid., p. 9.
“Margaret Wise Brown, The Dead Bird. New
York: William R. Scott, Inc., 1958. Unpaged.
Shimmering light contrasts with deep blues, purples, and greens as children express their
exuberance of a moonlit night. From The Moon Jumpers by Janice Udry. Illustrated by
Maurice Sendak. Harper, 1959.
stir, and we all dance, barefooted. Over and
over the grass! We play tag in and out. With
the wind and with each other .” 13 Readers
recall the joy of In the Forest, by Ets, as the
animals come to play, the bouncy good feel-
ing of Heidi as she goes down the alpine
slopes described by Spyri, the racing excite-
ment of Farley’s The Black Stallion. Joy
comes in many shapes and forms. It is re-
created in literature so it may be shared
again and again.
This chapter describes many fictional
books which will help children gain under-
standing of their own development. Under-
standing of his own needs will assist the child,
in understanding the values and motivations
of others.
38 Janice Udry, The Moon Jumpers. Illustrated by
Maurice Sendak. New York: Harper & Brothers, 1959.
Unpaged.
Many informational books contribute to
understanding of self and others. Facts about
growth and reproduction help the child un-
derstand changes in his body. In the Gruen-
bergs’ book, The Wonderful Stoty of You
there is an excellent chapter titled, “Becom-
ing Yourself.” The authors point out changes
in ideas as well as changes in physical appear-
ance. The relation of emotion to eating hab-
its is clearly presented by Zim in Your Food
and You. Factual books can also prepare
children for new experiences. For example,
in About Jack's Dental Check Up, Jubelier
shows the young child what happens when he
goes to the dentist. Jack is almost “too good”;
other sevens will probably wonder if he really
doesn't eat sweets and if he really brushes
his teeth after every meal. In Our Wonderful
Eyes Perry describes a blind man's day and
suggests ways to make a blind person com-
Children Seek Understanding of Self and Others - 245
fortable. Informational books can provide
vicarious experience which will help allay
fears and can help children understand ways
to develop better human relations. Biogra-
phies may give children the opportunity to
identify with people who have lived greatly.
Many of the books mentioned in Chapters
4, 5, and 6 contribute to the understanding
of self and others.
We do not know how one book will affect
a particular child; we cannot measure what
he takes from the pages of print and picture.
We can provide a wide variety of books, but
we must also provide many rich, first-hand
experiences with the physical and social
world in order that he bring understand-
ing to the symbols he reads to give them
meaning.
BOOKS TO DEVELOP UNDERSTANDING
The interaction of the reader with a book is
unique, for each person brings different ex-
periences to the words and pictures he per-
ceives. Indeed, each perceives the pages dif-
ferently and selects from the book that com-
munication from author and artist which is
meaningful to him. As the Prophet stated,
“No man can reveal to you aught but that
which already lies half asleep in the dawning
of your knowledge." 14 A child may take from
a book a different understanding than that
of teacher or librarian. The right of each
reader to his own interpretation must be re-
spected. Books include values, incidents, and
records of human relationships which serve
many purposes. The finest literary communi-
cation results in a communion of understand-
ing of self and others.
In selecting books to help children better
understand themselves and others, the cri-
teria established for all children’s literature
should be applied. Many of the so-called
classics are not suitable for developing this
understanding. A style enjoyed by another
generation may actually prevent develop-
ment of understanding. The situations and
characters must be vital and sincere. Senti-
mentalism is usually not accepted by chil-
dren; didacticism may create barriers to un-
derstanding. The values in the book should
be appropriate to the developmental level of
the child.
Books which are used to promote under-
standing should be carefully evaluated by the
14 Kahlil Gibran, The Prophet. New York: Alfred A.
Knopf, 1951. p. 62.
teacher or librarian. When the problem over-
shadows the plot and when the writing is
sentimental or weak, the book probably has
little value in changing children’s attitudes,
behavior, or values.
“Growing Up”
SIZE MAKES A DIFFERENCE
The concept one holds of himself is influ-
enced by his feeling about size. To the child,
growing seems a very slow process indeed.
Ruth Krauss has captured the feeling that
“everything grows up except me" in The
Growing Story . Growth in plants and ani-
mals is illustrated by the changes in the
stylized trees and the size of the animals.
Finally, the little boy finds his last year’s
jacket is too small — he has been growing.
Similarly, Krasilovsky's The Very Little Girl
helps children perceive the process of growth.
It is easy for the young child to identify with
the very little girl who was too small to see
over the fence. The reader senses her small-
ness in the big chair. There is reassurance
in the climax which shows she has grown a
great deal before the arrival of a new baby
brother who was “very very very little."
Just the Right Size, Not Too Small After
All, and Shoeshine Boy, are three books which
describe situations in which boys find they
can contribute, achieve, and win a place even
though they are small in comparison with
others. The boy in Just the Right Size by the
Kings realizes he can see things and make
discoveries others miss. Eight-year-old Joey
in Clymer’s Not Too Small After All ached
246 - Knowing Children's Literature
to play ball, but was always told he was too
small. How his spirits sagged when Jim said,
“You go over there and watch/’ With the
help of his dog, Joey finds a way to parti-
cipate in the play. In another book by Beim,
enterprising Teddy is too small for shoeshin-
ing at the library stand with the older boys,
but he finally wins success by shining chil-
dren’s shoes at the supermarket. In Clymer’s
book, O’Sullivan’s illustrations show real
boys. One child wears glasses, for example;
blue jeans, rumpled T shirts, and the argu-
mentative stance of small boys further con-
vey this realism.
Beim has written another story which ac-
curately portrays the behavior of a small boy
who tried to prove he was big by telling big
tales, shouting in a loud voice, painting big
things, and by trying to be first. In The
Smallest Boy in the Class this child grows
when he shares his lunch and receives the
accolade, “You have the biggest heart in the
class."
FAMILY RELATIONSHIPS HELP AND HINDER
In the family the child develops his self-con-
cept and is nurtured or bends to meet the
forces and barriers of physical or emotional
deprivation. One animal story. Big Talk , il-
lustrates the need for family love. After the
little kangaroo boasted he was brave as a
lion, could jump high as the sun, and could
run fast as the wind, his mother said,
‘ 4 But you will
“Ah,” said the little one, sleepily,
"I’m glad you told me that.
Because, you know, I really wasn’t so sure
About all those things myself!” 15
It is in the family circle that the child finds
this reassurance about who he is and what
he can do. Books may also help him under-
stand and accept his feelings toward the new
baby or toward other siblings. Some stories
depict a warm family life which can be shared
vicariously; others help children understand
problems of adoption or broken homes.
u Miriam Schlein, Big Talk. New York: William R.
Scott, Inc., 1955. Unpaged.
Accepting the new baby in the family is
one of the difficult problems met by many
children. Young children enjoy Marjorie
Flack’s story of two children who were sur-
prised with a baby which proved to be far
more interesting than the pets they had ex-
pected. In her book, The New Pet, there is
understanding of the way the, baby grows.
The New Baby is a warm story of Mike’s
preparations for the new baby sister. The
Shanes have been sensitive to the parent’s
role in helping a child accept a new baby.
As the littlest one in the family, Robert could
only observe the interesting activities of
adults. Suzanne Larsen’s pictures clearly show
Robert as a very small boy under his father’s
chair, trying his mother's high heels, or try-
ing to ride his brother’s bike. In this book,
The Littlest One in the Family, Lois Duncan
has captured the feelings of a small boy who
remembers to be nice to the baby “because
he knew how it felt to be the littlest one in
the family."
Baker’s story of Little Brother is too con-
trived. John becomes quite sad when the new
baby usurps his parents’ time and attention.
He comes to understand these feelings as he
observes the behavior of his first dog. Shady,
when a second dog seems to win John’s favor.
The longing for attention from a mother
busy with a new baby is expressed in Judy's
Baby by Scott. Mother never seems to stop
long enough to talk to Judy. When Judy ob-
serves another girl her own age caring for a
new sister, she gains insight into her role and
returns to work with her mother. The “mid-
dle years" child will share Judy's reassurance
in being held in her mother’s lap and hear-
ing the lullaby of her own babyhood. Her
long legs dangle comfortably as Judy and her
mother create together a song for the new
baby.
Many books for children present whole-
some family relationships in which there is
love and respect for each other’s needs. A
book may emphasize another theme, but it
may also suggest fun, warmth, and security
within the family. In One Morning in Maine,
understanding parents are sensitively por-
Children Seek Understanding of Self and Others - 247
trayed by McCloskey. When the little girl in
The Night When Mother Was Away could
not sleep, her father, wisely understanding
her loneliness, read a story, sang, and took
her for a walk. The lovely, descriptive text
and soft colors of the illustrations evoke the
beauty and mystery of a summer evening.
The Night When Mother Was Away, by Zolo-
tow, illustrates a secure father-child relation-
ship. A Russian folk tale based upon the
proverb, “We do npt love people because
they are beautiful, but they seem beautiful
to us because we love them,” reflects the deep
love of a child for a mother. My Mother Is
the Most Beautiful Woman in the World by
Reyher tells of a little Russian girl who is
lost in the wheatfields. Found by other vil-
lagers, she says her mother is the most beauti-
ful woman. All learn the lesson of love when
the superficially homely mother comes for
Vanya.
^ Family fun, sharing family interests, and
understanding individuals in the family
group is reflected in many well-written books
for children. Despite their economic hard-
ships, The Moffats have fun and share each
others problems. The Hallowe’en stunt they
devise is especially amusing. There is adven-
ture as Rufus Moffat rides the freight train
to get little Hughie Pudge back in school;
there is laughter and drama as Joe is unwill-
ingly catapulted into a dance recital. The
same author, Eleanor Estes, has created
warmth and fun in another family story.
Ginger Pye. The mysterious disappearance of
Ginger, the “intellectual type” dog, brings
the family even closer together. All share the
sorrow of her loss and the joy when she is
found.
Emphasis is upon the relationship of the
four children in The Saturdays . The four
Melendys are fortunate to have an under-
standing, though somewhat aloof, father, and
a patient housekeeper who tolerates their nu-
merous plans and projects. The plan to pool
their allowances so each child in turn may
enjoy a special Saturday excursion brings
humor and pathos. Randy goes to an art mu-
seum, Rush to the opera, and Oliver goes
alone to the circus. When Mona returns with
haircut and curls from the beauty salon she
feels guilty; yet she feels secure in this proc-
ess of emerging into an adolescent:
She was safe in her bed, the house enclosed her
in a shell of warm security and all about, on every
side, were the members of her own family who
loved and understood her so well. She felt calm
and happy . 16
The Wilder books such as Little House on
the Prairie furnish many examples of a warm
family relationship. Pa livens the bleak
household with his fiddle, and Ma is the re-
sourceful pioneer who hungered for beauty
and learning for her daughters in the bleak
wilderness. From these two parents the Wil-
der girls receive love, faith, and humor to
face the hardships of life on the plains.
Although they are economically poor, the
All-of-a-Kind Family are rich in love and
companionship. A resourceful mother keeps
the five girls happy and busy. All-of-a-kind
family meant “. . . we’re all close and loving
and loyal — and our family will always be
that.” Children will better understand the
parent’s point of view after reading the inci-
dent in which Sarah refuses to eat her soup
before the meat and vegetables. Mama holds
to the rule and the soup appears at Sarah’s
plate for two meals. The entire family aches
with the tension. “Mama was equally miser-
able. She had to keep steeling herself to her
firm resolve. Don’t be sorry for her, she told
herself. You mustn't. She must learn her les-
son .” 17 This incident might be read aloud
to initiate a discussion of parental roles.
In Ice Cream for Two, Clare Newberry de-
scribes the wholesome relationship of a
mother and her eight-year-old son who move
to New York. While the artist-mother is out
looking for work the boy becomes acquainted
with their apartment neighbors. The mother’s
pictures of the Siamese cat next door help her
16 Elizabeth Enright, The Saturdays. New York:
Holt, Rinehart and Winston, Inc., 1941. p. 102.
"Sydney Taylor, All-of-a-Kind Family. Chicago:
Wilcox Sc Follett, 1951. p. 110.
248 - Knowing Children's Literature
find work. To celebrate they spend a day do-
ing what the little boy chooses. By nightfall
there is only enough money left for ice cream
for two and they have never seen the movie
which was the mother's wish.
The tender concern of parents for their
children is shown in two stories of migrant
workers. Family loyalty is strong as these
people shift from farm to orchard. The close-
ness of the Mexican family in The Very Good
Neighbors, by Eberle, is demonstrated as they
all gather junk to build a house. There is
warmhearted acceptance of the sister who
doesn’t like to work. When mother goes to
clean for a lady in the town, the children ar-
rive at noon and sit quietly outside. The
reader senses their joy and love as they take
turns eating the ice cream she passes out of
the window.
The migrant child who is constantly ad-
justing to new situations must find his se-
curity in the family. Doris Gates writes a
touching story in Blue Willow. Janey Larkin
longs for a permanent home and is willing
to sacrifice her only treasure, a blue willow
plate, to keep the home they have found.
Her warm relationship with her father and
stepmother is, perhaps, the foundation of
her courage. When Janey tells how they were
cheated by the unscrupulous rent collector,
the Larkins are allowed to stay. Judy's Jour-
ney by Lenski is another story of a migrant
family following the crops from Florida to
New Jersey.
One might consider “those Bunkers" a
shiftless, irresponsible set of parents. As in-
deed they are! In Maggie Rose, Her Birthday
Christmas, the reader realizes that although
they may be lazy and social parasites, the
Bunker parents described by Ruth Sawyer
give much to their brood. Somehow they pro-
duce a child who is different, who “hankers"
for a clean house, jobs like other people, and
a real Christmas celebration on her birthday.
When Maggie Rose’s money is stolen she
loses spirit, but the family rouses itself and
goes to work to do for Maggie what she
wanted to do for them. Their pride shines
as brightly as the Christmas candles!
Good family relationships are also illus-
trated in books about other lands. Set in
modern Japan, Takao and Grandfather’s
Sword, by Uchida, is a story of a boy’s prob-
lems in growing up. It could well be used to
discuss the gradual acceptance of responsi-
bility — successful achievement of small tasks
paves the way for larger accomplishments.
When Takao ’s carelessness results in a seri-
ous fire, his father’s patient understanding
helps him to grow in courage and responsi-
bility.
The fatherless French family who change
hobo Armand’s life reflects unity and security
despite their poverty. In The Family Under
the Bridge, by Carlson, loyalty and the joy
of sharing simple pleasures are emphasized.
Conflicts within families, particularly be-
tween the generations, are presented in sev-
eral books. An example of divided loyalties
is in Wibberly’s book about the American
Revolution, Peter T reegate’s War . The second
in a series of four books about the revolution,
this volume describes Peter’s part in Bunker
Hill and in crossing the Delaware. Peter
hardly knows his real father, a Boston mer-
chant who is fighting side by side with a
Scot enemy, Maclaren of Spey. The Maclaren
had saved the boy’s life and raised him as his
own son. When Peter has to decide whether
to go with his real father or stay with his
wounded foster father, we share his conflict
and the process of growing up. This is out-
standing historical fiction for children in
grades five to eight.
The conflicting values of old and young in
a different cultural group are reflected in the
exciting story by Judson, The Green Ginger
Jar. Ai-Mei, the young Chinese granddaugh-
ter seeks her grandmother's approval to have
her hair cut as she says, “My troubles eat into
me like a worm. ... I want to be like other
people.” When the grandmother tells that
her feet were bound so that the family status
could be maintained, Ai-Mei points out the
similarity of the situation today. This mys-
tery story helps children understand a mod-
ern family in Chicago.
Identification with families around the
Children Seek Understanding of Self and Others - 249
world is made possible through reading
Schneider’s Follow the Sunset and listening
to the accompanying record of lullabies
around the world. As the sun sets, each fam-
ily returns from work, enjoys the evening
meal, finds companionship, and then hears
the mother’s lullaby.
Getting along with siblings is one of the
major problems of children in all families.
The problem of teasing is delightfully han-
dled in Big Brother by Charlotte Zolotow.
When the little girl finally understands that
her brother just pretended to put tacks in
her bed or break an egg in her hair, she stops
crying. Mary Chalmers’ illustrations capture
the irritation, the humor, and the compan-
ionship of the two children. Beim’s Too
Many Sisters expresses well the feelings of
a small boy in a family of girls. Jason and
Timmy, by Scott, describes a realistic quar-
rel between two brothers. This incident could
be used to introduce role playing or discus-
sion of similar family problems. The games
of war played by these boys and their third-
grade peers are true to life. When Timmy
shoves his way into a fight to defend his
brother, the reader senses his family loyalty.
Wanted ... a Brother, by Bell, is a rather
slight story of a boy who wanted a brother
to talk to, to play with, and “to drink choc-
olate sodas with.’’ Children will enjoy the
humor of his desire to buy a brother at the
Brothers Sales Co. or to trade for one at the
trading post. When his sister retrieves his
kitten, he decides a sister can be fun, too.
Although sometimes depicted as old enough
to go away from home to play, or to go alone
for a chocolate soda, the boy seems more like
a four- or five-year-old. This inconsistency
makes the story unrealistic.
The unique problem of developing in-
dividuality as a twin is described by Ruth
and Harold Shane in The Twins. Although
Sue and Ann enjoy confusing others by their
identical appearance, they dislike the merg-
ing of personalities when schoolmates call
each girl Sue-Ann. Different hair styles and
new dresses help each girl achieve individu-
ality.
Several books deal with special problems
of the orphan and the adopted child. Or-
phanages are portrayed in many ways.
Whether Bemelmans’ Madeline is in an or-
phanage or in boarding school, the reader
A teasing big brother de-
lights in his sister's howls as
shown in this story of family
relations. From Big Brother
by Charlotte Zolotow. Illus-
trated by Mary Chalmers.
Harper, 1960.
250 - Knowing Children's Literature
catches a glimpse of life where there are al-
ways rows of children — rows as the girls walk,
rows at meal time, rows of beds. The warmth
of life in a poverty-stricken orphanage is il-
lustrated in Natalie Carlson's books about
the French orphans, The Happy Orpheline
and A Brother for the Orphelines. In the lat-
ter, the incident in which resourceful Josine
wins the boys' best marbles would be fun to
dramatize. Deeper concern for unwanted
children is expressed as these orphelines ac-
cept a new baby left on their doorstep. This
need to be wanted, to belong, can be dis-
cussed with the group after reading parts of
such books.
In Adopted Jane, Daringer shows life in
an orphange in its realistic greyness. How-
ever, Jane is almost too goody-goody when
she is finally chosen for a summer with a
foster family! When she refuses new dresses
because she thinks the foster mother should
save her money to give the orphanage, the
reader questions the characterization. Jane
so frequently says, “don't be a stick-in-the-
mud'' and “do your best and let your con-
science be your guide’’ that we feel she is un-
real. Making a choice between two future
homes is a very real decision for Jane, how-
ever. Middle-grade readers could be asked to
tell how they would decide which family to
select.
A true story of the adoption of twelve chil-
dren by a Methodist minister and his wife
brings laughter and understanding. In A
Brother the Size of Me, Helen Doss describes
this “United Nations” family — children from
Korea, Mexico, Japan, Burma, and an Amer-
ican Indian. Donny continues to hope they
adopt a boy his size. When his wish is finally
granted, he learns the price of having a
brother by sharing his dog and his treasures.
Wasson has rewritten his classic about
adoption, The Chosen Baby . The simple text,
designed for young children, tells the steps
of adopting a baby. When the first “chosen
baby” is older, the family adopts a baby sis-
ter for Peter. Parents could read the story
and add details of the selection of their own
child. Here's a Penny, by Haywood, will help
the adopted child understand the questions
which will arise about his relationship to
his parents. In an argument the little girl
next door says, “Well, anyway, I'm my Mom-
my's and Daddy's real little girl. . . . But
you're not your Mommy's and Daddy's real
little boy.” 18 Penny wonders how he can be
their really, truly boy. The story is far too
long for the age level whose interest it meets
(four- to six-year-olds) ; however, it does de-
scribe one of the common problems of
adopted children.
CHILDREN NEED COURAGE
The joys of childhood are so often praised
that adults fail to recall the times children
face anxiety and fear. Children are told to be
“big and brave”; in our culture, boys, es-
p